SCHOOL  SEWING 

—  BASED  ON— - 

HOME 
PROBLEMS 


BURTON 


Household  science  Dept* 


LIBRARY 


SCHOOL  SEWING 

BASED    ON 

HOME  PROBLEMS 


BY 


IDA  ROBINSON  BURTON,  B.S. 

Former  Director  Home  Economics,  Muncie  Normal  Institute 
AND 

MYRON  G.  BURTON,  A.B. 

Director  Home-Study  Service,  Kansas  State  Agricultural  College 
Author  of  "  Shop  Projects  Based  on  Community  Problems  " 


GINN  AND  COMPANY 

BOSTON    •    NEW  YORK    •    CHICAGO    •    LONDON 
ATLANTA    •    DALLAS    •    COLUMBUS    •    SAN  FRANCISCO 


COPYRIGHT,  1916,  BY 
GINN  AND  COMPANY 


ALL   RIGHTS   RESERVED 


421.5 


TABLE  OF  CONTENTS 

PAGE 

Title  Page 1 

Copyright  Page   2 

Table  of  Contents 3,  4,  5,  6 

Preface ,  7,  8,  9, 10 

Home  Problems    - '  '  "'       ll,  12, 13 

Suggestions   to  Teachers 14, 15  IB,  17.  A& 

Instructions   to   Students 19,  20,  21,  22,  23 

Introduction  to  Section  1 24 

Needle  Book 25,  26,  27,  28 

Wash  Cloth   29,  30,  31,  32 

Hand   Towels 33,  34,  35,  36 

Handkerchief  Case 37,  38,  39,  40 

Sewing  Apron   41,  42,  43,  44 

Book  Cover  45,  46,  47,  48 

Button  Bag   49,  50,  51,  52 

Hair  Receiver    53,  54,  55,  56 

Holder    57,  58,  59,  60 

Child's  Bib   61,  62,  63,  64 

Review  Questions   and  Problems 65 

Suggestions  for  Home  Application 66,  67 

Introduction  to  Section  II 68 

Filing  Pocket   : 69,  70,  71,  72 

Sleevelets   73,  74,  75,  76 

Cap   77,  78,  79,  80 

Silver  Case   81,  82,  83,  84 

School  Bag 85,  86,  87,  88 

Broom  Cover  89,  90,  91,  92 

Crocheted  Turban   ,  93,  94,  95,  96 

Darned  Towel   97,  98,  99, 100 

Dresser   Scarf    101,  102,  103,  104 

Kitchen  Apron    105,106,107,108 

Review  Questions  and  Problems 109 

Suggestions  for  Home  Application 110,  111 


478143 


PAGE 

Introduction  to  Section  III 112 

Traveling  Case    113, 114, 115, 11(5 

Embroidered  Napkin    117,118,119,120 

Shop  Apron   121, 122, 123,  124 

Ironing  Board  Cover 125, 126, 127, 128 

Clothes  Pin  Apron 129, 130, 131, 132 

Scalloped  Towel   133, 134, 135, 136 

Fancy  Apron  137, 138, 139, 140 

Bedroom   Slippers    141, 142, 143,  144 

Handmade  Handkerchief  145, 146, 147, 148 

•  :  .-.  Embroiders  Corset  Cover   149, 150, 151, 152 

•ReView  Qupesikfos'  and  Problems 153 

£lj$|g£«hoji$  fpr^Hojne  Application 154, 155 

Introduction  to  Section  IV 156 

Sash  Curtains    157, 158, 159, 160 

Laundry  Bag 161, 162,  163,  164 

Pillow  Case 165, 166, 167, 168 

Sofa  Pillow  Cover  169, 170, 171, 172 

Table  Cover 173, 174, 175,  176 

Guest  Towel 177, 178, 179, 180 

Bungalow  Apron 181,182,183,184 

Cooking  Apron   185,  186,  187,  188 

Baseball  Suit   189, 190, 191, 192 

Plain  Petticoat    193,194,195,196 

Review  Questions  and  Problems 197 

Suggestions  for  Home  Application 198,  199 

Introduction  to  Section  V 200 

Combing  Jacket    201,  202,  203,  204 

Night  Gown   205,  206,  207,  208 

Kimono    209,  210,  211,  212 

Princess  Slip   213,  214,  215,  216 

Ruffled  Petticoat    217,218,219,220 

Cambric  Corset  Cover 221,  222,  223,  224 

Drawers 225,  226,  227,  228 

Pajamas    229,  230,  231,  232 

Boy's  Shirt  233,  234,  235,  23(5 

Embroidered  Luncheon  Set 237,  238,  239,  240 

Review  Questions  and  Problems 241 

Suggestions  for  Home  Application 242,  243 


PAGE 

Introduction  to  Section  VT 244 

Middy  Blouse    245,246,247,248 

Tailored  Waist   249,  250,  251,  252 

Tailored  Skirt   253,  254,  255,  256 

House  Dress 257,  258,  259,  260 

School  Dress 261,  262,  263,  264 

Wool  Dress    265,  266,  267,  268 

Silk   Dress 269,270,271,272 

Lingerie  Dress 273,  274,  275,  276 

Gymnasium   Suit    277,278,279,280 

Coat  281,  282,  283,  284 

Review  Questions  and  Problems 285 

Suggestions  for  Home  Application 286,  287,  288 

Supplement    289 


Chapter  I.    Textiles- 
General  Discussion 290 

Cotton  and  Cotton  Fabrics  291,  298 
Linen  and  Linen  Fabrics  298,  300 

Chapter  II.     Sewing  Processes — 
Introductory  Suggestions  307 

Straightening  Cloth 308 

Basting  and  Tacking. . . .  308,  309 

Running  Stitch 310 

Backstitch   310 

Combination  Stitch 311 

Overhanding 311,  312 

Overcasting 313 

Hemming    313 

Hemstitching    314,315 

Rolled    Hem 316 

French  Hem 316 

Catch   Stitching 316,317 

Featherstitching 317,  319 

Cross-stitch  319, 320 

Outline  Etching  Stitch..   320,321 

Chain  Stitch   321 

Seed  Stitch   322 

Blanket  Stitch  322, 323 

Couching   323,  324 


Wool  and  Woolen 

Fabrics 

Silk  and  Silk  Fabrics. . 


French  Knots 

Satin  Stitch 

Lazy  Daisy 

Hooks  and  Eyes  and 

Snaps 

Forming  a  Loop 

Sewing  on  Buttons .  . . 

Buttonholes    

French  Seam 

Felled  Seam  

Lapped  Seam 

Overcast  Seam 

Gathering    

Cutting  Bias  Strips .  . . 
Squaring  a  Corner.  . . 
Mitering  a  Corner 
Patching  and  Darning 

Crochet  Stitches , 

Plackets   

Sewing  Machine  


301,  304 
304, 306 

324 

325 

325, 326 

326, 328 
328 
329 

330. 333 

333. 334 

334. 335 

335. 336 
336 

336, 338 
338,  339 
339, 340 
340,  342 
342,  349 
349,  352 

352. 357 

357. 358 


PAGE 


Chapter  III.    Care,  Repairing,  Cleaning  and  Pressing  of  Clothing- 


Laundering  362,  363 

Removing  Spots  and 

Stains 363,367 

Pressing  367,  373 


Clothing  and  Personality          359 

Economy  in  Dress 359,  360 

Care  of  Clothing 360,  361 

Altering  Garments    361, 362 

Dyeing  and  Cleaning.  . .  .  362 

Chapter  IV.     Patterns  and  Pattern  Drafting — 

General  Discussion 374,  376     Drafting  Kimono 

Drafting  Foundation  Waist  376,  385        Nightgown  390,  392 

Drafting  Foundation  Skirt  385,  390     Drafting  Drawers   .  .  .   392,  393 

INDEX  OF  PROJECTS. 

Baseball  Suit   .  .   189     House  Dress  .  .  257 


Bedroom  Slippers  141 

Book  Cover 45 

Boy's  Shirt  233 

Broom  Cover   89 

Bungalow  Apron 181 

Button  Bag 49 

Cambric  Corset  Cover 221 

Cap    77 

Child's  Bib  61 

Clothes  Pin  Apron 129 

Coat    281 

Combing  Jacket 201 

Cooking  Apron 185 

Crocheted  Turban 93 

Darned  Towel  97 

Drawers  225 

Dresser  Scarf 101 

Embroidered  Corset  Cover...    149 
Embroidered  Luncheon  Set..   237 

Embroidered  Napkin   117 

Fancy  Apron   137 

Filing  Pocket  69 

Guest  Towel  177 

Gymnasium  Suit  277 

Hair  Receiver 53 

Handkerchief  Case 37 

Handmade   Handkerchief.  . .  .   145 

Hand  Towel   ,  .     33 

Holder  57 


Ironing  Board  Cover 125 

Kimono  209 

Kitchen  Apron 105 

Laundry  Bag   161 

Lingerie  Dress  273 

Middy  Blouse 245 

Needle  Book 25 

Nightgown    205 

Pajamas 229 

Pillow  Case 165 

Plain  Petticoat 193 

Princess  Slip   213 

Ruffled  Petticoat 217 

Sash  Curtains 157 

Sewing  Apron   41 

Scalloped  Towel    133 

School  Bag  85 

School  Dress 261 

Shop  Apron 121 

Silk  Dress  269 

Silver  Case 81 

Sleevelets 73 

Sofa  Pillow  Cover 169 

Table  Cover   173 

Tailored  Skirt   253 

Tailored  Waist    249 

Traveling   Case    113 

Wash  Cloth 29 

Wool  Dress  .                             .  265 


PREFACE 

THE  most  striking  feature  of  the  modern  educational  system  is 
the  atmosphere  of  practical  application  which  surrounds  every 
line  of  its  endeavor.  Educators  have  come  to  realize  that  the 
surest  approach  to  the  child's  mind  is  through  the  light  of  his  ex- 
perience. They  are  therefore  striving  to  utilize  the  impressions 
gathered  outside  the  classroom  in  motivating  some  of  the  mental 
gymnastics  which,  heretofore,  have  been  sheerest  abstractions.  Not 
only  has  the  scope  of  the  curriculum  been  extended  in  such  a  way  as 
to  include  the  subjects  founded  upon  home  and  community  problems, 
but  the  very  manner  of  dealing  with  those  subjects  themselves  has 
undergone  a  change  consistent  with  the  general  scheme  of  making  the 
child's  experience  the  constant  handmaid  to  his  training. 

Under  the  old  school  the  plan  of  the  textbook  was  to  arrange 
the  subject-matter  in  a  logical  and  scientifically  sequential  form, 
giving  but  little  thought  to  the  manner  of  development  in  the  child's 
mind.  In  those  days  it  was  thought  that  a  textbook  should  rep- 
resent a  storehouse  of  racial  subject-matter  arranged  systematically 
and  according  to  the  most  logical  method.  But  little  attention  was 
given  to  the  idea  of  making  the  textbook  a  bridge  between  the  child's 
experience  and  the  subject  into  which  the  child  should  be  led. 

Modern  thought  along  these  lines  has  made  evident  the  fact  that 
the  child's  mind  unfolds  naturally  in  response  to  his  experience,  that 
the  child  is  a  learner  outside  the  classroom,  to  and  from  school,  and 
at  home.  In  fact,  during  all  his  waking  hours,  he  is  continually 
absorbing  from  his  environment.  With  this  fact  in  mind,  the  so- 
called  "phychological"  method  of  instructing  has  come  into  vogue. 
That  is,  the  immediate  interest  of  the  child  is  utilized  in  an 
effort  to  lead  him  into  the  realms  of  the  unknown.  A  consideration 
of  this  conception  easily  leads  one  to  believe  that  the  method  of  pro- 
cedure in  teaching  could  not  then  be  identical  in  any  two  children, 
due  to  the  fact  that  no  two  children  are  equally  endowed  mentally, 
neither  have  their  experiences  been  the  same.  Therefore  the  psycho- 
logical plan  of  teaching  in  its  strictest  sense  could  be  perfectly  em- 
ployed only  in  a  class  consisting  of  one  student.  If  this  psychological 
plan  were  followed  to  the  extreme  there  is  great  danger  that  it  would 
lead  to  random  thought,  encouraging  a  sort  of  mind  wandering,  due 
to  the  fact  that  no  definite  goal  existed. 


8 

Ironclad  advocates  of  the  old  school  of  logical  thinking  appar- 
ently believed  that  the  child  existed  for  the  sake  of  fitting  himself 
into  the  established  methods  of  training,  and  that  each  child  should 
be  slavishly  led,  or  driven  as  the  case  might  be,  through  this  pre- 
scribed course,  regardless  of  his  personal  aptitudes  or  individual 
inclinations;  likes  and  dislikes  were  not  in  the  consideration.  It 
was  this  school  of  pedagogy  which  believed  that  the  sequential  logic 
of  the  subject  should  be  the  master  in  prescribing  the  order  of  pro- 
cedure in  all  school  texts.  On  the  other  hand,  the  swing  of  the  pen- 
dulum brought  many  so-called  educators  to  the  opposite  extreme 
where  they  were  ready  to  cast  aside  every  form  of  prescribed  methods 
of  procedure,  and  in  every  line  of  thought  endeavor  to  cause  the  mind 
to  unfold  "naturally"  with  but  little  foresight  as  to  the  ultimate  goal. 
This  sort  of  procedure  was  sure  to  result  in  rambling  which  gave  the 
student  absolute  command  of  nothing  that  would  function  in  the 
solution  of  future  problems. 

These  two  extremes  lie  open  to  anyone  who  attempts  the  prep- 
aration of  a  textbook.  While  the  logical  arrangement  has  been 
rigidly  followed  for  many  generations  past  in  some  of  the  old  line 
subjects,  it  has  asserted  itself  only  to  a  very  limited  degree  in  the 
newer  industrial  lines.  There  have,  however,  been  a  few  attempts 
at  industrial  textbooks  which  were  so  inflexible  in  the  work  that 
they  set  forth  as  to  stint  the  development  of  the  students,  and  give 
them  but  little  that  has  any  connection  with  the  great  store  of  world 
subject-matter.  There  can  certainly  be  no  greater  pedagogical  error 
than  to  introduce  a  practical  subject  and  then  teach  it  in  such  a  way 
as  to  strip  it  of  all  of  its  practical  applications. 

By  far  the  greatest  error,  however,  has  been  at  the  other  extreme 
of  the  pendulum.  Too  much  of  the  industrial  work  of  our  public 
schools  has  been  so  afraid  of  falling  into  the  conventional  forms  of 
the  older  lines  that  it  has  been  almost  chaotic;  on  account  of  this  lack 
of  method,  it  has  brought  results  which  wrere  far  from  satisfactory. 
The  newness  of  industrial  work  as  a  public-school  undertaking  has 
naturally  been  the  cause  of  its  failure  to  conform  to  established 
methods  of  procedure.  Superintendents  have  been  impressed  with 
the  beautiful  theories  often  set  forth  by  the  expert  industrial  teacher 
saying  that  the  work  should  be  made  to  conform  absolutely  with 
the  child's  personal  experiences,  and  that  every  problem  should  arise 
out  of  the  child's  own  conception  and  initiative.  Such  methods  have 
been  tried  and  superintendents  have  been  very  much  disappointed 
to  find  that,  when  the  classes  were  entrusted  to  less  skillful  teachers, 
the  educational  results  fell  far  short  of  the  expectations  which  had 


9 

been  set  upon  hearing  this  theory  so  beautifully  expounded  by  the 
expert. 

If  any  line  of  handwork  is  to  have  its  real  educational  value  it 
can  not  be  at  variance  with  the  established  rules  of  pedagogy.  It  is 
absurd  to  think  that  a  child  undergoes  any  transformation,  either 
physically  or  mentally,  because  it  happens  to  be  in  an  industrial 
laboratory,  rather  than  in  a  classroom  for  the  abstract  subjects.  In 
the  preparation  of  this  text,  which  is  based  upon  many  years  of 
personal  instruction  and  observation  of  all  types  of  schools  in  several 
states,  the  effort  has  been  to  find  a  sane  medium  between  the  rigid 
logical  method  of  arrangement  and  the  almost  chaotic  result  of  the 
unqualified  psychological  method. 

Those  who  are  familiar  with  the  subject  of  sewing  are  well  aware 
that  it  does  present  many  scientific  phases,  and  that  there  are  correct 
and  incorrect  ways  of  doing  things  which  belong  to  this  important 
art.  These  established  principles  are  but  the  outgrowth  and  develop- 
ment which  the  age  now  holds  as  its  heritage  from  the  careful  and 
thoughtful  efforts  of  generations  gone  by.  Surely  each  girl  should 
not  be  called  upon  to  relive  all  these  experiences  in  the  sewing  class, 
and  to  develop  herself  from  the  crudest  undertakings  of  sewing 
through  all  of  the  primitive  steps  which  have  made  possible  our 
modern  needlework.  Neither,  on  the  other  hand,  should  the  child 
be  compelled  to  master  in  an  absolute  way  a  definite  and  prescribed 
set  of  disassociated  needlework  principles.  The  experiences  of  the 
child,  her  own  environment,  and  outlook  into  her  future  occupation, 
as  well  as  her  immediate  needs  should  be  studiously  considered  in 
prescribing  her  wrork.  The  course  should  be  sufficiently  flexible  to 
adapt  itself  to  these  various  needs  without  in  any  way  disregarding 
the  established  principles  of  the  subject.  The  apperceptive  powers 
of  the  girl  constitute  her  only  means  of  interpreting  her  surroundings. 
With  this  idea  in  mind,  this  text  has  been  designed  to  deal  with 
logical  principles  in  a  psychological  way.  Paradoxical  as  this  may 
seem  at  first,  an  examination  of  the  text  reveals  the  fact  that  every 
lesson  presents  ample  opportunity  for  the  student  to  acquaint  herself 
with  different  principles,  and  at  the  same  time  employ  those  principles 
in  the  making  of  a  project  which  will  appeal  to  her  native  interest. 
In  order  to  provide  for  the  development  of  initiative  and  to  stimulate 
the  exercise  of  individual  tastes,  untold  possibilities  lie  open  in  the 
matter  of  original  design,  choice  in  decoration,  and  in  the  employ- 
ment of  the  artistic  touches  which  are  in  no  way  a  violation  of 
principles. 

In  order  to  meet  the  widely  different  conditions  of  mind,  which 


10 

must  necessarily  exist  in  the  children  who  come  from  homes  of  vary- 
ing conditions,  a  very  extensive  list  of  projects  has  been  presented  in 
each  section.  Kindred  ones  have  been  suggested,  thus  making  it 
possible  to  claim  the  interest  and  attention  of  every  normal  girl, 
allowing  her  to  make  articles  which  are  of  practical  value  in  her 
daily  experience,  and  at  the  same  time,  enabling  her  to  develop  her 
latent  talent  for  artistic  expression. 

As  this  text  is  submitted  to  the  opinion  of  our  fellow  teachers  it 
is  our  most  sincere  hope  that  it  will  find  some  place  in  which  to  offer 
its  share  of  real  practical  assistance  to  every  force  which  is  endeavor- 
ing to  render  practical  service  to  our  girls  who  desire  to  fit  themselves 
for  lives  of  usefulness. 


11 


HOME  PROBLEMS 

THE   most   severe   criticism   which   is   being   brought   upon   our 
public  schools  today  comes  from  professional  men,  great  cap- 
tains of  industry,  and  those  who  have  devoted  their  lives  to  the 
practical  problems  of  a  busy  world.     It  is  not  uncommon  to  hear  it 
stated  that  public  schools  fail  to  empower  students  with  the  kind  of 
information  which  they  can  employ  after  leaving  the   schoolroom. 
The  most  ardent  supporters  of  our  educational  schemes  will  not  deny 
that  there  is  some  justice  in  this  accusation. 

The  schools  which  are  becoming  famous  throughout  the  country, 
for  the  excellent  work  which  they  are  doing,  are  those  which  are 
taking  into  vital  consideration  the  needs  of  the  community  and  the 
home.  We  have  come  to  understand  that  it  is  just  as  cultural  and 
just  as  intellectual  for  a  child  to  engage  her  talents  in  the  solution  of 
some  practical  home  and  community  problems  as  it  is  to  spend  the 
entire  time  and  attention  solving  mathematical  conundrums  or 
enigmas  of  languages  which  will  probably  never  be  employed  in  her 
daily  occupation. 

As  soon  as  a  girl  leaves  school  she  will  be  called  upon  to  solve 
a  great  many  problems  in  which  an  incorrect  solution  will  not  mean, 
an  unsatisfactory  grade  on  her  report  card,  the  loss  of  a  holiday  or 
the  punishment  of  remaining  in  the  same  grade  a  second  year;  but 
she  will  be  confronted  with  a  class  of  problems,  the  failure  in  wrhose 
solution  will  mean  the  loss  of  social  standing,  impaired  health,  un- 
happiness  and  misery  to  her  family  and  possibly  even  death  itself. 

The  problems  of  life  demand  a  more  careful  solution  than  any 
of  the  problems  with  which  she  has  been  dealing  in  school.  Incorrect 
solutions  at  school  may  be  revised  under  the  guidance  of  the  teacher; 
incorrect  solution  of  a  home  problem  can  not  always  be  revised,  and 
much  less  is  there  an  opportunity  to  make  a  second  attempt  under 
skillful  guidance.  But  little  argument  is  necessary  in  convincing 
wide-awake,  modern  educators  of  the  real  value  of  the  introduction 
of  home  problems  into  school  work. 

The  subject  of  sewing  offers  an  opportunity  for  correlating  the 
activities  of  the  home  and  the  school  in  a  way  which  is  sure  to 
employ  the  natural  interest  of  the  student,  and  to  use  her  inherent 
disposition  toward  activities  in  working  out  a  line  of  accomplishments 
which  will  mean  much  to  her  when  her  school  days  are  over.  Surely 


12 


of  £uch  problems  can  not  be  lightly  estimated  even 
from  the  standpoint  of  their  cultural  value. 

Too  many  girls  fail  to  comprehend  what  is  meant  by  home  prob- 
lems. To  them  the  work  of  the  housewife  is  a  mere  matter  of  course, 
with  its  drudgery  and  its  never  ending  round  of  the  same  duties  day 
after  day.  If  they  could  be  brought  to  realize  that  the  problems  of 
the  home  are  just  as  wrorthy  the  employment  of  their  thought;  and  in 
fact  oftentimes  fully  as  difficult  of  solution  as  the  wrork  of  Geometry, 
Chemistry  or  Physics,  then  more  girls  would  respond  with  interest 
to  this  challenge  of  their  ability.  The  interest  in  obedience  to  home 
authorities  and  regulations  may  also  be  very  much  enhanced  by  a 
proper  understanding  of  home  problems.  The  girl  who  realizes  the 
numerous  problems  which  confront  her  mother,  and  fully  under- 
stands that  the  mother  is  constantly  racking  her  brain  to  find  a 
correct  solution  of  her  problems,  will  have  a  broader  sympathy  for 
her  mother,  and  will  be  less  likely  to  add  annoyance  by  thoughtless- 
ness occasioned  through  her  lack  of  interest  in  those  problems. 

The  matter  of  providing  satisfactory  clothing  for  the  different 
members  of  the  family,  keeping  their  clothing  in  the  best  possible 
condition  of  cleanliness  and  appearance,  is  a  problem  of  no  little 
concern.  Particularly  is  this  true  in  an  age  when  tastes  and  designs 
are  continually  changing,  bringing  about  fashions  some  of  which 
are  consistent  with  real  needs  wrhile  others  are  merely  gaudy  and 
superficial.  A  girl  should  learn  to  discriminate  between  her  wants 
and  her  needs  in  matters  of  apparel.  She  should  learn  to  comprehend 
the  economical  problems  of  costs  and  values,  training  herself  to  dis- 
tinguish between  the  two,  fully  understanding  that  cost  and  value  do 
not  always  go  hand  in  hand. 

The  problems  of  mending  are  so  homely  as  to  be  usually  ignored. 
There  is  certainly  no  sane  reason  why  the  matter  of  patching,  darning 
and  other  phases  of  mending  should  be  any  less  dignified  than  trans- 
lating a  foreign  language,  solving  mathematical  problems,  or  doing 
research  work  pertaining  to  the  history  of  ancient  nations. 

The  aim  and  hope  of  each  lesson  throughout  the  text  is  given 
with  this  idea  of  enabling  the  student  to  comprehend  the  fact  that 
there  are  certain  home  problems  for  which  the  particular  project  in 
the  lesson  offers  a  partial  solution.  It  is  not  expected  that  the  teacher 
should  go  into  detail  sufficiently  to  require  that  each  student  should 
thoroughly  comprehend  the  home  problems  from  which  the  project 
is  drawn,  however,  the  more  completely  the  problems  are  studied 
the  more  likely  is  the  student  to  pursue  the  project  with  interest.  It 
is  no  more  reasonable  to  expect  that  every  girl  should  become  a 


13 


seamstress  than  to  expect  that  every  girl  should  become  a  clerk  or 
school  teacher;  but  it  is  imperative  that  every  girl  should  be  deeply 
concerned  in  the  problems  of  home  life,  and  it  is  but  natural  to  sup- 
pose that  she  will  at  some  time  be  confronted  with  the  problems, 
whether  in  the  management  of  her  own  home  or  in  contributing  to 
the  happiness  and  welfare  of  those  among  whom  she  makes  her  home. 
Surely  the  training  which  gives  a  girl  a  self-reliance  in  being  able  to 
make  her  own  clothes  is  worth  while.  If  she  never  cares  to  do  her 
o\vn  work  she  should  at  least  have  training  sufficient  to  enable  her 
to  direct  the  work  which  will  be  done  for  her.  The  best  way  to  instill 
the  proper  respect  and  appreciation  for  home  is  to  give  a  girl  an 
early  understanding  of  the  existence  of  home  problems,  and  to  equip 
her  with  some  means  of  approaching  them. 


14 


SUGGESTIONS  TO  TEACHERS 

;  I  'HE  following  suggestions  to  teachers  are  intended  to  give  a 
broad  conception  of  the  underlying  principles  upon  which  this 
text  is  founded  and  to  offer  means  by  which  it  can  be  made  most 
effective  in  the  hands-  of  the  student.  It  is  not  the  intention  to  curtail 
the  possibilities  nor  any  of  the  originality  or  initiative  of  the  teacher, 
but  rather  to  relieve  her  as  much  as  possible  of  the  drudgery  and 
minor  details  which  fall  to  the  lot  of  one  who  must  constantly  be  a 
source  of  information  and  advice  to  her  classes.  In  practically  all 
other  school  subjects  the  teacher  has  the  advantage  of  being  able  to 
place  in  the  hands  of  her  students  some  sort  of  literature  from  wrhich 
they  may  gather  the  essential  facts  of  the  subject-matter.  In  proper 
justice  to  the  teacher  of  sewing,  as  well  as  to  the  student,  these 
classes  should  be  provided  with  some  means  by  which  they  may 
gather  pertinent  information  and  direct  their  own  activities  by  their 
own  powers  of  research.  This  will  conserve  the  teacher's  time  and 
energy,  allowing  it  to  be  devoted  to  the  more  important  functions  of 
studying  the  case  of  each  individual  student  and  then  prescribing 
work  suitable  to  meet  those  needs. 

This  book  is  divided  into  six  sections  and  each  section  presents 
ten  projects  in  detail,  and  offers  suggestions  for  optional  modifica- 
tions which  may  be  used  in  the  construction  of  three  or  four  times 
as  many  additional  projects.  It  is  not  the  intention  that  any  one 
student  should  be  required  to  make  every  project  in  each  section, 
but  the  aim  has  been  rather  to  set  forth  an  abundance  of  work  from 
which  the  teacher  may  direct  the  choice  of  each  student,  after  con- 
sidering carefully  her  individual  tastes  and  needs.  No  attempt  has 
been  made  throughout  the  different  sections  to  grade  the  projects  and 
present  them  in  the  exact  order  of  the  sequence  of  processes,  but 
rather  to  present  a  series  of  projects  dealing  with  kindred  principles, 
thus  offering  an  opportunity  of  appealing  to  the  various  tastes  of  the 
students.  It  wrill  be  found,  however,  that  the  sections  are  somewhat 
sequential  from  the  standpoint  of  difficulty.  It  is  therefore  suggested, 
that  for  the  most  part,  the  work  should  be  taken  up  in  the  order 
presented  in  the  text. 

When  a  student  has  completed  one  project,  by  a  careful  grading 
of  the  finished  product  as  well  as  by  a  thoughtful  consideration  of 
the  capability  of  the  student,  the  teacher  should  advise  her  what 
project  she  is  to  undertake  next.  In  making  these  selections  the 


15 

personal  wishes  of  the  student  should  be  carefully  considered,  and 
the  selection  should  be  made  in  such  a  way  as  to  give  each  girl  further 
training  on  the  particular  processes  which  she  did  not  do  satisfac- 
torily in  her  last  project.  In  this  way  it  will  be  possible  for  the 
teacher  to  strengthen  the  weaker  points  of  the  student  by  review 
without  losing  any  of  the  interest  which  comes  with  undertaking  a 
new  project.  It  will  be  observed  that  in  each  section  there  are  ottered 
projects  of  such  a  nature  as  to  appeal  to  the  interest  of  almost  any  girl. 

The  introduction  to  each  section  should  be  carefully  perused  by 
the  teacher  in  order  that  she  may  have  a  fairly  clear  idea  of  what 
that  section  embodies.  It  would  be  well  for  the  teacher  to  acquaint 
herself  with  the  processes  set  forth  in  each  project  before  allowing 
the  girls  to  undertake  any  of  them.  The  student  who  has  not  suf- 
ficiently mastered  the  work  of  one  section  should  not  be  permitted 
to  pass  to  the  next,  but  should  be  given  further  work,  either  from 
the  regular  lessons,  or  from  the  suggestions  for  optional  modifications 
until  she  has  proven  her  capability  of  undertaking  the  processes  set 
forth  in  the  next  section.  It  is  not  necessary  that  all  students  of  the 
class  be  working  on  one  project  or  even  projects  from  the  same  sec- 
tion at  the  same  time;  in  fact,  too  much  emphasis  can  not  be  laid 
upon  the  matter  of  giving  to  each  girl  the  work  best  adapted  to  her 
personal  development,  regardless  of  what  the  other  members  of  the 
class  may  be  doing  at  that  particular  time.  One  of  the  principal 
reasons  for  placing  the  textbook  in  the  hands  of  the  student  is  to 
make  it  possible  for  this  plan  to  be  carried  out. 

On  the  opening  page  of  each  lesson  is  given  a  half-tone  illustra- 
tion to  enable  the  student  to  visualize  the  essential  points  of  the 
thing  which  she  is  about  to  undertake.  These  illustrations  will  also 
be  found  useful  in  guiding  the  teacher  and  students  in  making  a  wise 
choice  of  projects.  With  each  lesson  will  be  set  forth  the  amount  of 
material  required  for  its  construction.  A  suitable  kind  of  material 
is  suggested;  this  does  not  mean  that  that  kind  of  material  is  the 
only  one  suitable,  for  in  a  great  many  of  the  projects  a  very  wide 
latitude  of  choice  is  allowed.  However,  the  material  recommended 
is  very  commonly  used  and  will  give  excellent  results. 

Following  the  name  of  the  material  will  be  found  paragraph 
references.  These  references  refer  to  the  supplement  at  the  close 
of  the  text.  By  referring  to  these  paragraphs  a  discussion  of  the 
different  kinds  of  cloth  will  be  found.  These  discussions  will  afford 
material  for  research  work,  and  it  is  urgently  advised  that  teachers 
require  their  students  to  make  a  careful  study  of  these  references. 

No  attempt  is  made  to  give  a  technical  discussion  of  the  various 


16 


fabrics,  but  merely  to  cover  the  points  of  general  information  which 
will  be  found  of  practical  value  in  the  average  home.  This  reading 
may  be  done  outside  the  regular  sewing  period,  it  may  be  used  as  the 
basis  for  language  or  composition  work,  or  used  in  a  number  of  ways 
wrhich  will  no  doubt  suggest  themselves  to  the  thoughtful  teacher. 

On  the  first  page  of  each  lesson  wrill  be  found  the  "Introductory 
Statement."  The  purpose  of  the  introductory  statement  is  to  enable 
the  student  to  realize  that  the  thing  set  forth  deals  writh  a  home  prob- 
lem. While  no  effort  is  made  to  give  the  child  a  full  comprehension 
of  the  home  problem  which  the  project  of  that  lesson  helps  to  solve, 
yet  the  introductory  statement  is  made  sufficiently  exhaustive  to 
bring  to  the  mind  of  the  student  the  fact  that  such  a  problem  exists 
in  the  average  home.  Throughout  the  text  it  has  been  the  policy  to 
offer  no  project  which  does  not  have  a  real  function  in  home  life. 
Students  should  read  the  introductory  statement  of  each  project 
which  they  make.  It  would  also  be  well  to  have  all  the  introductory 
statements  read  and  discussed  in  class  regardless  of  the  projects 
which  the  class  is  to  undertake.  This  consideration  of  these  intro- 
ductory statements  will  develop  the  judgment  and  awaken  the  interest 
of  the  students  in  a  way  w^hich  would  not  be  possible  if  they  wrere 
omitted. 

At  the  close  of  the  introductory  statement  a  number  of  references 
will  be  found.  The  purpose  of  these  references  is  to  cite  authority 
to  which  students  may  refer  for  kindred  information.  Students  are 
often  at  a  loss  to  know  where  they  may  find  reading  matter  pertain- 
ing to  Domestic  Art  subjects.  The  references  given  in  connection 
with  each  lesson  are  not  necessarily  kindred  to  the  problem  set  forth 
in  that  particular  lesson,  but  they  will  be  found  of  great  value  in  con- 
sideration of  the  general  problems  embodied  in  the  lesson. 

On  the  second  page  of  each  lesson  a  number  of  suggestions  for 
optional  modification  are  given.  These  pages  are  designed  with  the 
idea  of  bringing  before  the  students  possibilities  of  developing  the 
idea  given  in  the  project,  and  of  encouraging  them  to  use  their 
own  initiative  in  the  construction  of  similar  projects.  Students  should 
be  encouraged  to  make  a  great  deal  of  use  of  the  suggestions  for 
optional  modification,  and  from  the  ideas  set  forth  in  these  sugges- 
tions, they  should  be  required  to  design  and  execute  as  many 
ideas  of  their  owrn  as  possible.  No  attempt  is  made  to  give  complete 
working  directions  for  the  different  optional  modifications  presented. 
Only  a  mere  suggestion  can  be  offered  relative  to  each.  The  re- 
'mainder  of  the  work  is  purposely  left  for  the  student  to  develop. 

On  the  last  page  of  each  lesson  the  working  directions  are  given. 


17 

The  purpose  of  the  working  directions  is  to  guide  the  student  in  the 
construction  of  the  project.  It  is  not  claimed  that  the  methods  of 
construction,  and  the  manner  of  procedure  set  forth  in  these  working 
directions,  are  the  only  possible  ways  of  doing  the  work;  these  di- 
rections are  given  merely  as  safe  guides.  It  will  be  found  most  bene- 
ficial to  require  the  students  to  read  for  themselves  the  directions  as 
set  forth,  and  to  execute  the  work  without  further  interpretation  from 
the  teacher.  This  method  will  not  only  develop  the  power  of  self- 
reliance  and  research  of  the  student,  but  will  conserve  the  time  of  the 
teacher  for  her  more  important  duties.  The  teacher  should  assist  a 
student  only  when  that  student  has  exhausted  her  own  resources  in 
interpreting  the  method  of  procedure. 

Throughout  the  working  directions  a  great  many  paragraph  ref- 
erences are  given  referring  to  the  supplement.  Each  of  these  ref- 
erences should  be  carefully  studied,  for  in  them  will  be  found  half- 
tone illustrations,  and  carefully  worded  discussions  explaining  how 
to  execute  the  ordinary  fundamental  stitches  and  details  of  the  most 
important  processes  of  plain  sewing.  After  the  student  has  followed 
these  references  in  a  few  lessons  she  will  then  be  able  to  continue 
her  work  without  further  reference  to  them  except  as  new  processes 
are  introduced.  Sufficient  references  should  be  made,  however,  to 
make  sure  that  no  incorrect  habits  are  developed.  Throughout  the 
text  a  great  deal  of  latitude  has  purposely  been  offered  in  many  of 
the  processes.  Custom  has  caused  considerable  variation  in  the  exe- 
cution of  a  number  of  processes  in  sewing.  The  practices  set  forth 
in  this  text  are  such  as  have  been  thoroughly  tested  by  many  years 
of  teaching  experience,  and  have  also  been  recognized  and  approved 
by  practical  seamstresses. 

At  the  close  of  each  section  will  be  found  a  list  of  review  ques- 
tions. The  purpose  of  these  questions  is  to  make  sure  that  the  stu- 
dents have  gathered  the  most  important  points  from  the  projects  in 
that  section.  These  questions  may  be  used  for  written  examinations, 
for  oral  tests,  or  in  any  way  that  the  teacher  may  see  fit.  No  doubt 
the  teacher  will  have  a  great  many  important  questions  which  may 
be  added  to  this  list.  The  careful  consideration  of  the  questions  given 
will  reveal  the  fact  that  the  purpose  of  these  tests  is  not  merely  a 
matter  of  examination,  but  they  are  designed  to  develop  in  the  student 
an  interest  in  home  problems,  and  to  inculcate  a  desire  to  take  part 
in  home  activities. 

At  the  close  of  each  section  will  also  be  found  a  number  of  sug- 
gestions for  application  to  home  problems.  The  underlying  function 
of  this  text  is  to  connect  school  needlework  with  practical  home 


18 

sewing  problems.  In  order  to  do  this,  every  effort  is  made  to  bring 
the  home  problems  into  the  school  work  and  to  encourage  the  chil- 
dren to  carry  home  the  principles  developed  in  the  class.  Every 
teacher  should  encourage  her  students  to  bring  from  home  a  great 
number  of  pieces  of  work  to  be  used  in  the  class  period.  There  is 
no  reason  why  much  of  the  home  mending,  darning  and  patching 
may  not  be  done  by  the  girls  at  school.  It  is  at  least  imperative  that 
the  girls  should  assist  in  the  work  at  home  even  if  they  do  not  carry 
a  portion  of  it  to  school.  Whatever  emphasis  is  placed  on  the  regular 
lessons  of  this  text,  there  certainly  should  be  no  neglect  of  the  sug- 
gestions for  home  application.  Specific  directions  can  not  be  given 
for  conducting  this  work;  each  teacher  must  be  left  to  her  own  re- 
sources and  initiative  in  working  out  ways  and  means  of  connecting 
home  and  school  activities.  The  success  of  school  sewing  must  be 
measured  in  a  large  degree  by  the  interest  which  the  girls  have  in 
home  work,  and  by  the  results  they  get  in  their  home  undertakings. 
Girls  should  be  encouraged  to  ask  questions  of  their  mothers,  to 
bring  such  information  to  school  and  to  compare  that  information 
writh  the  information  gathered  from  their  research  work.  The  care- 
ful handling  of  the  subject  in  this  way  will  make  it  possible  for  the 
girls  to  have  the  advantage  of  the  scientific  information  set  forth  in 
the  text,  plus  the  practical  experience  of  the  home.  It  must  be  con- 
stantly kept  in  mind  that  it  is  not  the  purpose  of  the  work  merely 
to  teach  the  girls  a  few  needle  practices,  but  rather  to  give  them  a 
broader  education  in  the  art  of  home  sewing  and  to  develop  their 
appreciation  for  this  class  of  life  problems. 


19 


INSTRUCTIONS  TO  STUDENTS 

WHEN  you  undertake  this  work  in  sewing  it  will  seem  a  little 
strange  to  you  at  first  for  it  is  somewhat  different  from  the 
regular  class  work  which  you  have  been  doing  at  school.  In 
this  work  you  will  have  a  chance  to  learn  by  doing  as  well  as  by 
studying  and  thinking,  and  you  can  always  make  use  of  some  of  the 
things  which  you  have  learned  at  home.  This  work  should  be  ex- 
tremely interesting  to  you  because  of  its  relation  to  the  things  which 
you  will  no  doubt  be  called  upon  to  do  throughout  your  entire  life. 
The  purpose  of  sewing  work  is  not  merely  to  furnish  you  employment 
for  your  hands,  but  to  teach  you  to  direct  your  hands  skillfully  in 
the  doing  of  the  things  which  your  mind  must  fully  understand.  It 
is  very  interesting  to  know  that  the  skillful  use  of  the  hands  comes 
only  by  proper  guidance  from  the  brain,  so  this  work  in  sewing  will 
give  you  a  chance  to  use  both  mind  and  hand.  The  difference  between 
a  great  artist  and  a  laborer  lies  in  the  fact  that  the  artist  puts  more 
brain  work  into  his  efforts  than  does  the  laborer;  this  explains  why 
one  is  an  artist  and  produces  things  of  beauty,  while  the  other  is 
compelled  to  do  the  drudgery  of  the  world. 

There  is  such  a  great  number  of  valuable  and  interesting  things 
given  in  these  lessons,  that  you  will  be  able  to  make  selection  of  the 
ones  which  you  like  best.  This  does  not  mean  that  you  should  simply 
peruse  the  book  and  choose  the  thing  which  pleases  your  fancy 
without  regard  to  your  need  or  preparation  to  undertake  it.  The 
lessons  set  forth  in  the  early  portion  of  the  book  are  easier  because 
they  employ  elementary  processes.  Throughout  the  book  you  will 
find  that  the  projects  become  more  difficult  because  they  introduce 
more  advanced  principles.  You  must  not  expect  to  undertake  the 
more  difficult  lessons  until  you  have  successfully  completed  some  of 
the  elementary  ones.  It  would  be  well  for  you  to  discuss  with  your 
teacher  and  your  mother  the  project  which  you  wish  to  undertake. 

After  you  have  begun  a  project,  never  leave  it  until  it  is  finished. 
Half  finishing  a  task  is  not  good  training  for  it  develops  slovenly 
habits  which,  if  followed,  are  sure  to  bring  unsatisfactory  results. 
You  should  cultivate  the  habit  of  finishing  any  task  when  you  have 
once  undertaken  it,  even  though  you  may  find  some  portion  of  it 
rather  irksome  and  difficult. 


20 

Sometimes  the  school  program  is  so  arranged  that  the  sewing 
class  does  not  meet  every  day;  this  is  frequently  offered  as  an  excuse 
for  forgetting  materials  or  neglecting  to  bring  some  equipment  nec- 
essary for  the  recitation.  Certainly  such  carelessness  should  be 
avoided.  At  the  beginning  of  the  work,  provide  yourself  with  some 
sort  of  sewing  basket,  box  or  bag.  A  properly  made  sewing  apron 
with  pockets  will  also  aid  greatly  in  caring  for  your  equipment. 

A  pair  of  sharp  shears,  a  tape  measure,  a  thimble,  a  paper  of 
assorted  needles  and  a  supply  of  thread  should  always  be  on  hand. 
The  larger  materials,  trimmings,  etc.,  required  for  the  different 
projects,  may  be  provided  as  needed. 

Work  should  never  be  carried  home  without  the  permission  of 
the  teacher,  however,  it  would  be  well  to  take  partly  finished  projects 
home  occasionally  in  order  that  your  mother  may  have  an  oppor- 
tunity to  see  just  how  you  are  doing  your  work.  When  work  is  thus 
taken  home  it  should  not  be  left  there  for  mother  or  someone  else 
to  finish,  but  should  be  promptly  returned  to  school  in  order  to  be 
continued  at  the  next  regular  sewing  period.  Your  textbook  may  also 
be  taken  home  frequently  for  reference  in  connection  with  your  home 
sewing  duties,  but  it  must  always  be  brought  back  to  the  classroom 
in  ample  time  for  the  school  work. 

At  the  opening  of  each  lesson  you  will  find  an  illustration  giving 
you  an  idea  as  to  the  appearance  of  the  finished  product.  You  should 
study  the  illustration  carefully,  for  it  will  enable  you  to  form  a  clear 
idea  of  the  thing  which  you  are  about  to  undertake.  You  will  also 
find  a  list  of  the  materials  which  will  be  required  to  make  that  par- 
ticular project.  Of  course  in  some  cases  the  size  of  the  material  will 
vary,  particularly  if  it  is  for  a  wearable  garment,  for  in  that  case  the 
size  of  the  person  who  is  to  use  the  garment  will  determine  the  size 
of  it.  You  will  notice  that  there  are  paragraph  references  following 
the  name  of  the  material  suggested.  You  should  turn  to  the  supple- 
ment at  the  back  of  the  text,  and  read  carefully  the  paragraph  referred 
to,  for  this  discussion  deals  with  the  particular  kind  of  material 
recommended  for  the  project.  It  is  just  as  important  that  you  should 
understand  the  nature  of  the  material  that  you  are  using  as  it  is  to 
be  able  to  make  the  piece  of  work.  This  does  not  mean  that  the  kind 
of  material  suggested  in  the  lesson  is  the  only  kind  suitable;  in  sewing 
you  have  a  great  choice  of  materials,  however,  the  kind  of  material 
mentioned  is  generally  the  one  most  commonly  used. 

Every  lesson  has  an  introductory   statement  on  the   first  page. 
This  statement  deserves  very  careful  study  for  it  will  help  you  to 


21 


understand  that  this  particular  project  is  given  because  it  has  a  prac- 
tical value  in  the  solution  of  some  home  problem.  You  may  not 
always  fully  understand  the  home  problem,  but  it  will  be  worth  while 
for  you  to  think  about  it. 

At  the  bottom  of  the  first  page  of  each  lesson  you  will  find  a 
number  of  references.  These  books  may  be  found  in  your  library 
or  in  some  public  library  to  which  you  have  access.  These  references 
are  given  for  the  purpose  of  enabling  you  to  find  further  reading 
matter  along  the  lines  set  forth  in  this  book.  It  will  be  well  for  you 
to  read  many  of  these  references,  for  you  not  only  wish  to  become 
skillful  in  sewing  processes,  but  you  should  develop  as  much  infor- 
mation as  possible  in  connection  with  the  subject. 

On  the  second  page  of  each  lesson  you  will  find  some  additional 
pictures  and  suggestions  for  original  ideas  which  may  be  used.  These 
illustrations  show  some  suggestions  for  optional  modifications;  that 
is,  they  will  show  you  some  changes  which  can  readily  be  made  in 
the  project  and  at  the  same  time  not  introduce  any  entirely  new  prin- 
ciples. You  will  observe  these  changes  or  modifications  usually  deal 
with  matters  of  decoration.  It  will  be  well  for  you  to  attempt  original 
designs  in  as  much  of  the  \vork  as  you  can,  always  discussing  with 
your  teacher  the  ideas  which  you  expect  to  undertake. 

The  next  page  of  each  lesson  takes  up  the  matter  of  wrorking 
directions.  These  working  directions  are  given  with  the  idea  of 
guiding  you  in  doing  all  your  work.  You  should  read  them  very 
carefully  as  the  work  progresses.  You  will  notice  a  number  of 
paragraph  references  throughout  the  directions,  these  references  refer 
to  chapters  and  paragraphs  in  the  supplement.  Each  one  of  these 
references  should  be  found  and  studied  carefully,  for  here  you  will 
find  the  complete  directions  and  illustrations  showing  you  exactly 
how7  to  carry  out  each  difficult  process.  The  working  directions  do 
not  make  any  attempt  to  illustrate  or  give  details  of  sewing  processes, 
all  these  are  set  forth  in  the  supplement.  It  may  not  be  necessary 
for  you  to  refer  to  the  supplement  more  than  once  or  twice  on  each 
process,  but  you  should  refer  to  it  often  enough  to  make  sure  that 
you  are  doing  your  work  correctly,  and  thus  avoid  forming  any  in- 
correct habits. 

The  real  value  which  you  get  from  this  work  will  depend  upon 
the  way  in  which  you  approach  it.  Do  not  attempt  to  finish  any  piece 
of  work  in  the  shortest  possible  time,  rather  try  to  see  how  well  you 
can  do  it.  There  are  really  not  a  great  many  difficult  things  for  you 


22 

to  learn  in  sewing,  but  there  is  an  unlimited  number  of  ways  in 
which  you  can  employ  those  things. 

A  great  many  girls  make  the  mistake  of  starting  a  piece  of  work 
in  a  rather  careless  hurrying  manner;  they  often  become  proud  of  the 
work  when  it  is  near  completion  and  desire  to  make  it  neat  and  at- 
tractive, but  it  is  marred  by  some  of  the  errors  which  were  made  on 
account  of  too  much  haste  at  the  start.  Remember  that  the  time  to 
begin  a  very  fine  piece  of  work  is  at  the  first  step  in  its  making.  An- 
other very  important  thing  for  you  to  learn  from  these  lessons  is  to 
be  orderly  and  systematic  in  all  your  habits  of  work.  The  sewing 
work  gives  you  an  opportunity  to  observe  the  value  of  having  a 
place  for  everything,  and  of  keeping  everything  in  its  proper  place. 
When  you  are  through  with  the  sewing  period  all  working  materials 
should  be  carefully  laid  away  so  you  will  know  where  to  find  them 
when  they  are  needed  again.  Habits  of  this  sort  should  be  developed 
in  all  of  your  work  for  neat  and  orderly  habits  are  sure  to  lead  to 
success  in  any  occupation. 

At  the  close  of  each  section  you  will  find  a  list  of  review  questions. 
These  review  questions  should  be  carefully  studied.  It  would  be 
well  to  keep  a  notebook  in  which  to  write  the  answers  to  'these  ques- 
tions. This  will  make  sure  that  you  are  gathering  the  most  important 
points  as  you  complete  each  section. 

The  pages  presenting  "Suggestions  for  Home  Application"  are  very 
important,  for  these  applications  will  be  the  real  test  of  what  you 
have  learned  in  the  sewing  work.  If  in  the  making  of  any  single 
project  you  have  not  mastered  some  principles  which  you  can  apply 
on  the  problems  at  home,  your  work  will  have  been  much  in  vain. 
Take  an  interest  in  the  problems  of  repairing,  patching  and  darning 
at  home.  See  how  many  of  the  different  things  which  you  have 
learned  in  school  can  be  employed  at  home.  It  would  be  advisable 
to  have  a  definite  period  each  week  in  which  to  spend  as  much  time 
as  convenient  on  the  home  garments,  practicing  the  instructions  set 
forth  in  the  sewing  lesson. 

Your  parents  will  no  doubt  be  very  much  pleased  to  find  you 
taking  an  interest  in  the  home  problems.  You  would  be  surprised  if 
you  could  know  how  much  you  may  lighten  mother's  tasks  by  assist- 
ing a  little  in  these  problems  which  she  must  consider  day  after  day, 
month  after  month,  and  even  year  after  year.  You  might  be  able  to 
assist  in  selecting  and  purchasing  materials  for  garments  for  yourself 
or  members  of  the  family  if  you  have  properly  acquainted  yourself 
with  the  different  textiles  explained  in  this  book. 


23 

Undertake  this  work  not  with  the  idea  that  it  is  drudgery  or 
labor,  but  with  the  feeling  that  it  is  an  opportunity  to  use  your  best 
powers  of  thought  in  some  of  the  most  worthy  tasks  which  it  is  a 
woman's  privilege  to  undertake. 


24 


INTRODUCTION  TO  SECTION  I 

SECTION  I  deals  with  the  most  elementary  processes  of  hand 
sewing.  The  lessons  set  forth  in  this  section  will  be  found  suit- 
able for  sixth  or  seventh  grade  girls  who  have  had  no  previous 
systematic  training  in  sewing.  Before  undertaking  any  of  the  sewing 
lessons,  each  girl  should  be  supplied  with  simple  sewing  equipment, 
such  as  needles,  thread,  shears,  tape  measure,  thimble  and  some  sort 
of  sewing  bag  or  box.  The  sewing  materials  may  be  brought  from 
home  or  they  may  be  purchased  in  bulk  and  passed  out  at  school  as 
the  teacher  sees  fit.  This  is  purely  a  local  problem,  but  it  is  extremely 
necessary  to  have  arrangements  made  whereby  each  girl  may  be  satis- 
factorily supplied  at  the  sewing  period. 

Each  girl  should  be  supplied  \vith  a  text  of  her  own  in  order 
that  she  may  have  the  undisturbed  use  of  it;  each  student  should  be 
required  to  read  freely  and  to  interpret  for  herself. 

Before  undertaking  any  of  the  actual  wrork  in  sewing,  the  girls 
should  be  required  to  turn  to  the  supplement  and  study  carefully  the 
correct  and  incorrect  position,  to  make  sure  not  to  form  any  bad 
habits  in  their  daily  work.  The  different  stitches  and  processes  may 
be  referred  to,  and  studied  as  they  are  introduced  in  the  making  of  the 
project. 

It  is  advised  that  students  who  have  had  no  previous  training 
make  their  first  selection  from  the  early  projects  set  forth  in  this 
section.  As  many  projects  from  this  section  should  be  made  as  is 
necessary  to  acquaint  the  student  with  the  elementary  stitches  set 
forth.  It  is  not  supposed  that  students  should  absolutely  master  all 
of  the  processes  set  forth  before  they  are  allowred  to  pass  on  to  the 
next  section.  Success,  speed  and  skill  in  sewing  come  only  after  long 
and  careful  practice. 

If  a  student  has  acquired  high  ideals  of  excellence,  and  under- 
stands that  each  process  must  be  executed  to  the  very  best  of  her 
ability  before  undertaking  ^another  one,  the  particular  processes  cov- 
ered by  her  wrork  need  not  be  a  matter  of  deep  concern. 


25 


NEEDLE  BOOK 

MATERIALS. 

Art  Canvas  (Chap.  I.  Par.  8). 

Outing  Flannel  (Chap.  I,  Par. 
30)  or 

Felt  (Chap.  I.  Par.  58). 

1  piece  art  canvas  41/2/'x61/^". 

1  piece  outing  flannel,  or  felt, 
6"x7". 

Crewel  or  raffia  needle  No.  5. 

Colored  san  silk,  or  similar 
mercerized  embroidery 
cotton. 


INTRODUCTORY  STATEMENT. 

A  place  for  everything  and  everything  in  its  place  is  a  rule  that 
applies  particularly  well  to  the  sewing  basket,  which  easily  becomes 
so  hopelessly  out  of  order  that  a  great  deal  of  time  may  be  wasted 
in  looking  for  the  articles  which  it  contains. 

A  needle  book  is  a  very  convenient  article  to  have  for  the  work 
basket,  as  it  provides  a  place  in  which  to  keep  needles  of  various 
sizes.  It  is  also  a  very  convenient  way  of  carrying  a  few  needles  in 
the  traveling  bag  as  it  folds  flat  and  occupies  very  little  space.  Cre- 
tonne makes  a  pretty  needle  book  cover,  but  being  a  figured  material, 
leaves  but  little  opportunity  for  hand  decoration. 

The  art  canvas  used  for  the  cover  of  the  needle  book  in  this 
lesson  is  suggested  because  it  gives  an  opportunity  not  only  to  make 
a  pretty  cover,  but  also  to  practice  some  of  the  stitches  which  will 
be  used  later. 


References : 


Needles,  How  We  Are  Clothed,  Chamberlain. 
Needles,   Great   American   Industry,  Vol.   Ill,  W.   F.   Rocheleau. 
Pins,   The   Making   of   America,   Vol.   VII,   Chas.   M.   Karen. 
Pins,  Great  American  Industry,  Vol.  Ill,  W.  F.  Rocheleau. 


26 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


BOOKMARK. 

No.  1.  A  bookmark  may  be  made  of  one  strip  of  art  canvas 
about  2"x8",  blanket  stitched  the  same  as  the  needle  book,  with  neat 
stitches  for  trimming. 

NAPKIN  RING. 

No.  2.  The  napkin  ring  is  made  very  much  like  the  bookmark, 
with  a  row  of  catch  stitching  and  chain  stitching  inside.  The  ring  is 
formed  by  over-lapping  and  fastening  the  ends. 

PENWIPER. 

No.  3.  The  penwiper  is  made  of  art  canvas  with  leaves  very 
similar  to  the  needle  book.  The  leaves  are  fastened  to  the  base  by 
taking  a  short  stitch  and  tying  the  thread. 

NEEDLE  CASE. 

No.  4.  A  needle  case  may  be  made  of  cretonne  about  3"  wide  by 
7"  long.  A  contrasting  plain  color  is  basted  to  the  wrong  side,  and 
the  edge  of  the  cretonne  is  turned  over  it  and  hemmed  in  place.  The 
leaf  is  made  of  outing  flannel  or  felt.  The  book  is  folded  over  like  a 
pocket  book  and  fastened  with  a  snap. 


27 


WORKING  DIRECTIONS  FOR  NEEDLE  BOOK 

Straighten  one  short  edge  of  the  art  canvas  by  drawing  a  thread 
and  cutting  on  the  line  (Chap.  II,  Par.  102).  Straighten  one  long  edge 
of  the  material  in  the  same  manner.  On  the  short  edge  measure  out 
4".  (The  length  of  the  needle  book),  draw  a  thread,  and  cut  on  the 
line.  On  the  long  edge  measure  out  6"  (twice  the  width  of  the  needle 
book).  Draw  a  thread  and  cut  on  the  line. 

DECORATING  THE  COVER. 

Finish  the  edges  of  the  art  canvas  with  blanket  stitching  (Chap. 
II,  Par.  128),  making  the  stitches  at  least  1A"  deep  and  l/s"  apart.  As 
the  canvas  ravels  easily  you  must  avoid  pulling  the  thread  too  tight 
while  working. 

The  stitches  used  in  decorating  the  surface  of  the  cover  may  be 
selected  as  desired,  but  the  running  stitch  (Chap.  II,  Par.  106)  is 
used  in  the  booklet  shown  in  this  lesson.  A  short  stitch  like  the 
running  stitch,  backstitch  or  cross-stitch,  is  better  to  use  for  this 
purpose  than  a  long  stitch,  on  account  of  the  corners  that  must 
be  turned. 

THE  INITIAL. 

An  initial  with  square  corners  should  be  used  if  it  is  to  be  worked 
with  the  cross-stitch,  as  you  cannot  work  very  satisfactorily  on  curves 
with  this  stitch.  First  design  the  initial  desired  on  a  piece  of 
paper,  copy  it  with  a  pencil  in  the  center  of  one  side  of  the  cover,  as 
shown  in  the  illustration,  or  if  necessary,  transfer  it  with  carbon 
paper,  as  follows:  Pin  a  piece  of  carbon  paper  slightly  larger  than 
the  initial,  carbon  side  down  on  the  needle  book.  Place  design  over 
it,  pin  it  down  at  the  top  and  bottom  and  trace  it  with  a  lead  pencil. 
Remove  design  and  carbon  paper  and  work  the  initial  by  taking  first 
a  vertical  stitch,  then  a  horizontal  stitch  on  the  lines  of  the  drawing. 
The  slanting  cross-stitch  may  be  used  instead,  if  desired,  by  follow- 
ing the  directions  given  in  Chap.  II,  Par.  124,  or  the  backstitch  will 
make  a  pretty  initial  (Chap.  II,  Par.  107). 

PREPARING  MATERIAL   FOR   LEAVES. 

Straighten  one  short  edge  of  the  outing  ilannel  by  drawing  a 
thread  and  cutting  on  the  line  (Chap.  II,  Par.  102),  Straighten  one 
long  edge  in  like  manner.  To  lay  out  the  large  leaf,  measure  out  on 
the  long  edge  of  the  material  3y2",  the  length  of  the  leaf,  and  draw  a 
thread.  Measure  down  on  the  short  edge  of  the  material  SVfe"  (twice 


28 

the  width  of  the  leaf) ;  cut  on  the  lines.    Make  the  second  leaf  3"  long 
by  5"  wide,  in  the  same  manner. 

Blanket  stitch  (Chap.  II,  Par.  128)  completely  around  the  edges 
of  these  pieces  writh  the  mercerized  cotton.  If  felt  is  used  for  these 
leaves,  the  edges  may  be  finished  with  small  notches.  Outing  llannel 
would  ravel  if  finished  in  this  way. 

FASTENING  THE  LEAVES  TO  THE  COVER. 

Fold  the  narrow  ends  of  the  cover  together  as  you  would  close 
a  book  and  crease  firmly  on  the  fold.  Open  flat  on  the  table  or 
desk.  On  the  upturned  side  lay  the  largest  piece  of  outing  flannel. 
On  this  piece  place  the  second,  arranging  them  so  there  is  a  uniform 
distance  between  the  edges  of  each  leaf  and  cover,  all  the  way  round. 
Hold  the  leaves  against  the  cover  as  you  have  placed  them,  then  turn 
the  cover  side  toward  you  and  with  a  needle  and  double  thread  sew 
through  the  crease  formed  by  the  folding,  inserting  the  needle  about 
1"  from  the  upper  edge  of  the  cover,  leaving  about  6"  of  the  thread 
extending  to  tie  in  a  bow;  bring  the  needle  through  again  about  1" 
from  the  lower  edge  of  the  book  cover,  on  the  same  fold.  Cut  the 
thread  off  near  the  eye  of  the  needle  and  tie  the  two  ends  in  a  neat 
bow.  Trim  the  thread  if  necessary. 

Needles  may  be  arranged  in  vertical  ro\vs  in  the  leaves  of  the 
needle  book  \vhere  they  wrill  be  ready  for  use  when  needed. 


29 

~~    WASH  CLOTH 

MATERIALS. 

Turkish  Toweling  (Chap.  I, 
Par.  35). 

1  piece  Turkish  toweling  14" 
square. 

San  silk,  or  similar  mercer- 
ized cotton  the  color  de- 
sired. 

Crewel  or  embroidery  needle 
No.  5. 


INTRODUCTORY  STATEMENT. 

There  is  an  old  axiom,  "Cleanliness  is  next  to  Godliness."  This 
is  a  general  statement  and  refers  to  the  care  of  the  body  as  \vell  as 
the  care  of  the  home.  The  wrash  cloth  is  a  valuable  aid  in  keeping 
the  face  clean.  It  takes  quite  a  number  of  wash  cloths  for  the  aver- 
age family  for  they  lose  their  efficiency  after  they  become  badly 
soiled,  and  clean  ones  need  to  be  supplied  frequently. 

It  is  very  desirable  for  each  member  of  the  family  to  have  an 
individual  wash  cloth,  wThich  may  be  marked  with  an  initial.  While 
any  soft  cloth  wrill  answer  the  purpose,  Turkish  toweling,  which  has 
been  suggested  for  the  wash  cloth  in  this  lesson,  is  particularly  de- 
sirable because  of  its  loosely  woven  threads,  giving  a  rough  texture 
which  readily  removes  the  dirt  from  the  skin.  Soft  buck  toweling  is 
also  used  for  \vash  cloths. 


References : 

Story  of  the  Cotton  Plant,  F.  Wilkinson. 

Manufacture  of  Cotton,  The  Great  Industries  of  the  United  States. 


30 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


WASH   CLOTH. 

No.  1.  This  is  a  wash  cloth  made  from  Turkish  toweling  about 
12"  square  with  a  1A"  hem,  blanket  stitched  around  the  four  sides. 
The  initial  is  worked  wTith  the  outline  etching  stitch. 

WASH   CLOTH. 

No.  2.  This  wash  cloth  is  made  of  huck  or  Turkish  toweling 
about  12"  square  with  a  Vi"  hem,  basted,  then  held  in  place  on  the 
right  side  with  catch  stitching.  The  initial  is  wrorked  in  French 

knots. 

WASH   CLOTH. 

No.  3.  This  wash  cloth  is  made  of  Turkish  toweling  12"  square 
with  a  1/4"  hem  held  in  place  with  crocheting.  San  silk,  or  some  coarse 
mercerized  thread  is  used.  The  initial  is  \vorked  with  the  unpadded 
satin  stitch. 

WASH   CLOTH. 

No.  4.  This  is  a  factory  made  wash  cloth  edged  with  crocheting 
of  mercerized  thread  to  match  the  color  in  the  wash  cloth. 


31 
WORKING  DIRECTIONS  FOR  WASH  CLOTH 

PREPARING  MATERIAL. 

If  necessary,  straighten  two  adjoining  edges  (Chap.  II,  Par.  102) 
of  the  Turkish  toweling  by  drawing  a  thread  on  each  of  these  edges 
and  cutting  on  the  lines  formed;  then  from  the  corner,  measure  out 
on  each  edge  12"  (the  size  of  the  wash  cloth  before  it  is  hemmed) ; 
mark  each  measurement  with  a  pin  and  draw  one  thread,  forming 
lines,  one  lengthwise  and  the  other  crosswise;  cut  on  these  lines. 

TURNING  AND  BASTING  THE  HEM. 

A  hem  has  two  turnings,  the  smaller  of  which  turns  under  the 
raw  edge  and  should  be  %"  to  y±"  in  width,  and  the  wider  turning 
which  makes  the  finished  hem;  it  may  be  any  width  desired.  Allow 
about  1/4"  for  the  first  turning  on  the  edge  of  the  wash  cloth.  Turn 
one  edge  down  (even  with  a  thread  of  the  material),  toward  the  side 
of  the  wrash  cloth  which  you  may  call  the  wrong  side  (there  is  no 
right  and  wrong  side  to  the  Turkish  toweling);  baste  with  even 
basting  about  y±"  long  (Chap.  II,  Par.  103),  as  you  turn.  On  the 
other  three  sides  turn  and  baste  as  you  have  the  first  side  (making 
the  basting  stitches  as  even  as  possible). 

After  the  first  turning  of  the  hem  is  made  around  the  four 
edges  of  the  cloth,  make  the  second  fold  in  the  hem  by  beginning  on 
one  edge  and  folding  over  the  edge  of  the  material  again  1A"  towards 
the  same  side  on  which  you  have  already  turned  the  raw  edge;  baste 
in  place  carefully  with  even  basting,  as  you  fold.  Turn  and  baste 
the  hem  on  the  adjoining  side  in  the  same  manner,  being  careful  to 
keep  the  edges  even  at  the  corner.  Continue  turning  and  basting, 
until  the  hems  have  been  turned  and  basted  on  all  four  edges  of 
the  wash  cloth. 

SEWING  THE  HEM  IN  PLACE. 

Sew  the  hems  in  place  with  the  hemming  stitch  (Chap.  II,  Par. 
114).  Using  coarse  colored  thread  will  give  a  pretty  appearance  to 
the  wash  cloth,  and  will  also  enable  you  to  see  whether  you  are 
getting  your  stitches  even.  Hem  all  four  sides  of  the  wash  cloth. 

You  will  notice  by  carefully  examining  the  corner  of  the  wash 
cloth  that  the  ends  of  the  hems  are  open.  These  will  look  neater  if 
sewed  together  with  the  overhand  stitch  which  is  generally  used  to 
fasten  together  the  ends  of  hems.  You  may  overhand  (Chap.  II,  Par. 
109)  the  ends  of  the  four  hems. 


32 

DESIGNING  AND  TRANSFERRING  THE  INITIAL. 

An  initial  may  be  selected  from  a  commercial  pattern  book  and 
Ttised  as  a  guide  in  designing  your  own  initial,  or  the  commercial 
pattern  for  the  initial  may  be  used.  If  the  commercial  pattern  is 
used,  transfer  the  first  initial  as  follows :  Place  it  in  the  position 
desired  with  the  rough  side  of  the  initial  down,  pin  it  to  the  material 
in  two  or  three  places  and  press  it  with  a  hot  iron  for  about  one 
minute.  After  the  pattern  has  been  used  once  it  will  be  necessary  to 
use  carbon  paper  to  get  other  copies  from  it.  To  do  this,  place  the 
carbon  paper  with  the  carbon  side  down  on  the  wash  cloth,  over  the 
place  where  you  wish  to  have  the  initial,  then  place  the  pattern  over 
the  carbon  paper,  pin  in  two  or  three  places  to  keep  it  from  slipping, 
and  trace  around  the  design  with  a  lead  pencil.  As  it  is  difficult  to 
transfer  a  design  onto  the  rough  Turkish  toweling,  trace  around  the 
initial  several  times  before  removing  it. 

If  you  wish  to  design  your  own  initial,  print  it,  or  write  it  care- 
fully on  a  piece  of  paper  first,  and  submit  it  to  your  teacher  for 
correction.  It  should  be  from  \"  to  2"  high  and  should  have  the 
width  in  proper  proportion.  After  the  initial  is  designed,  it  may  be 
copied  onto  the  wash  cloth  with  carbon  paper,  as  directed  above,  or 
may  simply  be  drawn  freehand  on  the  cloth,  using  the  pattern  as 
a  guide. 

WORKING  THE  INITIAL. 

Remove  the  pattern  and  the  carbon  paper  and  work  the  initial 
with  the  outline  etching  stitch  (Chap.  II,  Par.  125).  The  initial  may 
be  worked  with  French  knots  (Chap.  II,  Par.  130)  or  chain  stitch 
(Chap.  II,  Par.  .1261. 


33 

~~    HAND  TOWEL 

MATERIALS. 

Crash   Toweling.      (Chap.   I, 
Par.  44). 

x/2  yard  crash  toweling. 

4y2"   white   cotton   tape,   %" 
or  l/2"  wade. 

White  thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

There  are  a  great  many  different  kinds  of  hand  towels,  but 
plain  or  fancy,  they  are  all  used  for  the  same  general  purpose,  that 
is,  to  dry  the  hands  and  face.  A  towel  should  be  made  to  suit  the 
particular  purpose  for  which  it  is  intended.  Crash  toweling  is  gen- 
erally used  for  towels  which  receive  hard  wear,  such  as  the  kitchen 
towel,  while  huckaback  or  damask  linen  is  more  often  selected  for 
the  finer  towels  used  in  the  bedroom  or  bathroom. 

The  material  suggested  for  the  towel  in  this  lesson  has  a  smooth 
finish  that  does  not  leave  lint  and  is  used,  as  a  rule,  for  drying  fine 
china  and  glassware.  It  is  also  frequently  used  for  the  hand  towel 
which  hangs  on  the  apron  band.  It  is  a  particularly  suitable  material 
for  beginning  problems  in  sewing  because  the  stripes  serve  as  a  guide 
in  turning  the  hem. 

Although  this  is  the  kind  of  towel  generally  used  in  a  school 
kitchen,  it  will  also  be  found  very  convenient  for  home  use. 


References: 

Linen,  How  We  Are  Clothed,  Chamberlain. 
Linen,  How  It  Grows,  National  Flax  Fiber  Co. 
Linen,  Journal  of  Education,  Vol.  XLV,  p.  177. 


34 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


ROLLER  TOWEL. 

No.  1.  This  roller  towel  is  made  of  2^2  yards  of  linen  crash 
toweling.  The  raw  edges  of  the  towel  are  joined  with  a  felled  seam. 
While  the  roller  towel  has  been  condemned  for  public  use,  because 
of  its  being  unsanitary,  it  is  still  used  for  a  kitchen  towel  in  many 

KITCHEN  TOWEL. 

No.  2.  This  kitchen  towel  may  be  made  of  linen  crash  toweling, 
1  yard  long.  The  hems  on  the  ends  are  stitched  with  the  sewing 
machine.  The  initial  is  worked  with  the  outline  etching  stitch  in  a 
color  to  match  the  border  on  the  towel. 

HAND  TOWEL. 

No.  3.  This  hand  towrel  may  conveniently  be  made  from  l/2  yard 
crash  or  huckaback.  It  is  to  be  buttoned  on  an  apron  band,  or  hung 
on  a  hook  in  the  lavatory  or  bathroom.  The  cross-stitch  initial  is 
worked  inside  of  a  cross-stitch  wreath. 


35 

WORKING  DIRECTIONS  FOR  HAND  TOWEL 
PREPARING  MATERIAL. 

Straighten  one  end  of  the  material  by  drawing  a  thread  and  cut- 
ting on  the  line  (Chap.  II,  Par.  102).  Measure  down  one  of  the  edges 
18  inches  (one-half  yard),  the  length  of  the  towel,  and  draw  a  thread. 
Cut  on  line. 

TO  HEM  THE  TOWEL. 

The  narrow7  overhand  hem  used  on  this  towel  is  called  the  French 
hem  (Chap.  II,  Par.  119);  it  is  the  same  kind  of  hem  used  in  finishing 
the  ends  of  table  cloths  and  napkins.  Because  it  is  so  commonly 
used  you  should  learn  to  do  it  well.  For  the  first  turning  of  the  hem, 
fold  over  one  end  of  the  towel  about  1A",  keeping  it  even  with  a 
thread;  crease  firmly  with  the  thumb.  For  the  second  turning  of  the 
hem  fold  the  same  end  of  the  torwel  over  again  *4"  toward  the  same 
side  that  you  turned  the  raw  edge  and  crease  again  firmly.  If  the 
toweling  is  very  stiff,  it  will  not  be  necessary  to  baste  this  hem  in 
place  as  it  will  stay  creased  without  the  basting,  but  if  it  does  not 
stay  creased  well,  baste  carefully  along  the  edge  of  the  hem  with 
even  basting  (Chap.  II,  Par.  103). 

Turn  the  hem  thus  formed  back  on  the  opposite  side  of  the  towel 
and  crease  firmly,  making  the  edge  of  the  hem  and  a  thread  in  the 
body  of  the  towel  lie  together  in  a  parallel  line.  Knot  the  thread  and 
slip  the  needle  through  the  hem  at  the  beginning,  then  overhand 
(Chap.  II,  Par.  Ill)  the  two  edges  together,  being  careful  to  take 
small,  shallow  stitches.  Fasten  the  thread  securely  at  the  end  of 
the  hem  by  sewing  over  the  last  stitch  two  or  three  times.  With  the 
thumb  and  forefinger  of  the  left  hand,  press  the  hem  flat.  Overhand 
each  of  the  open  ends  of  the  hem.  Finish  the  other  end  of  the  towel 
in  the  same  manner. 

SEWING  ON  THE  TAPE. 

As  this  is  a  small  hand  towel,  it  is  supposed  to  be  hung  from 
the  band  of  the  apron  where  it  will  be  convenient  for  use.  It  is  to 
be  suspended  with  a  loop  of  tape  which  may  be  formed  and  sewed 
on  in  either  of  the  following  ways: 

FORMING  THE  LOOP. 
(First  Method) 

Take  a  piece  of  cotton  tape  about  1/4"  wide  and  4"  long.  Fold 
over  the  raw  edges  at  each  end  about  1/4",  turning  them  both  to  the 
same  side;  then  lay  the  two  ends  together  with  the  raw  edges  turned 


36 

under.  Lay  them  on  the  wrong  side  of  one  corner  of  the  towel, 
allowing  them  to  lap  over  the  corner  of  the  towel  about  l/2r>.  Baste 
carefully  in  place  with  even  basting  (Chap.  II,  Par.  103)  being  care- 
ful to  keep  the  ends  and  edges  of  the  tape  even.  Hem  down  on  one 
side  (Chap.  II,  Par.  114)  across  the  bottom,  and  up  the  other  side  of 
the  tapes,  fastening  them  firmly  to  the  towel.  To  secure  the  tape  to 
the  towel  at  the  corner,  turn  the  towel  toward  you  and  hem  around 
the  corner  of  the  towel  where  it  crosses  the  tape.  If  desired  the  tape 
may  be  secured  more  firmly  to  the  towel  by  making  two  parallel 
rows  of  backstitching  (Chap.  II,  Par.  107)  across  the  ends.  The  band 
of  the  apron  is  slipped  through  this  loop  before  being  buttoned. 

FORMING  THE  LOOP. 
(Second  Method) 

Fold  over  the  two  raw  edges  of  the  tape  %"  on  each  end,  turning 
them  both  toward  the  same  side  of  the  tape.  Place  the  two  ends  side 
by  side(  not  over  each  other),  making  the  opposite  closed  end  of  the 
tape  a  V  shape.  This  will  make  two  edges  of  the  tape  lie  together  in 
parallel  lines.  This  line  is  to  form  the  loop  which  is  to  serve  as  a 
buttonhole,  but  you  will  notice  that  it  is  longer  than  necessary  to 
receive  a  button.  It  also  needs  to  be  fastened  in  order  to  keep  it  ii> 
shape.  In  fastening  these  two  parallel  edges  of  the  tape,  some  space 
must  be  left  for  the  button.  Beginning  next  to  the  towel  overhand 
the  adjoining  edges  of  the  tape  together  about  y^",  then  leaving  a 
half-inch  space  unsewed  to  form  the  opening  for  the  button,  overhand 
the  edges  together  to  the  top  of  the  V  shaped  loop;  fasten  the  threads 
carefully  and  flatten  the  tapes  then  hem  across  the  piece  of  tape  that 
forms  the  wide  part  of  the  V. 

To  fasten  the  tape  to  the  towel,  lay  it  on  one  corner,  on  the 
wrong  side  of  the  towel  and  with  the  raw  edges  turned  under,  hem  it 
down  one  edge,  across  the  bottom  and  up  the  other  edge,  then  turning 
the  towel  toward  you,  hem  (Chap.  II.  Par.  114)  around  the  corner 
of  the  towel. 


37 


HANDKERCHIEF 
CASE 

MATERIALS. 

White,  Figured  or  Plain 
Colored  Lawn  (Chap.  I, 
Par.  23)  or 

Dimity  (Chap.  I,  Par.  15). 

Vz  yd.  lawn  or  dimity  at 
least  18"  wide. 

ll/2  yds.  lace  about  %"  wide. 
White  cardboard,  71/2"x91/2". 
White  thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

One  of  the  first  things  that  a  girl  should  learn  to  do  about  the 
house  is  to  care  for  and  keep  her  own  room  neat  and  attractive  in 
appearance.  The  dresser  drawrer,  with  its  ribbons,  handkerchiefs, 
and  the  many  little  trifles  that  are  necessary  in  a  girl's  toilet,  is  very 
difficult  to  keep  in  order.  If  the  different  articles  are  kept  in  boxes 
or  cases  it  is  very  much  easier  to  keep  them  from  getting  mixed; 
that  is,  if  all  the  handkerchiefs  are  kept  in  a  handkerchief  case,  the 
gloves  in  a  glove  box,  the  hair  ribbons  or  neck  ties  in  another  box, 
they  can  easily  be  found  when  desired. 

The  handkerchief  case  suggested  in  this  lesson  provides  an 
attractive  place  to  keep  the  handkerchiefs.  It  may  be  kept  either  in 
the  drawer  or  on  top  of  the  dresser.  If  in  the  latter  place,  the 
material  of  which  it  is  made  should  harmonize  with  the  colors  in  the 
room;  that  is,  if  the  paper  and  the  window  drapes  have  any  one 
color  predominating  in  them,  select  material  for  the  handkerchief 
case  which  will  not  be  out  of  harmony  with  that  color. 


References : 

Manufacture  of  Thread,  How  We  Are  Clothed,  Chamberlain. 

Lace,  Goldenberg    (Brentano   1904). 

Lace,  Its  Origin  and  History,  S.  L.  Goldenberg   (N.  Y.  1904). 


38 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


HANDKERCHIEF  CASE. 

No.  1.     This  handkerchief  case  is  made  of  linen  crash  T 
(unfolded).    The  design  is  worked  with  the  outline  etching  and  satin 
stitches.     Lace  is  sewed  around  the  top  fold.     It  is  tied  with  ribbon. 

HANDKERCHIEF  CASE. 

No.  2.  This  handkerchief  case  is  made  of  linen  crash  13"xl8" 
(unfolded).  The  long  edges  are  folded  to  the  center  and  a  piece  of 
cardboard  slipped  under  each  pocket  formed.  Lace  is  sewed  on  all 
the  way  round,  and  it  is  fastened  together  with  ribbon  ties. 

HANDKERCHIEF  CASE. 

No.  3.  This  handkerchief  case  is  made  of  line  crash,  with  end 
flaps.  One  piece  is  Il"x21"  doubled  crosswise.  The  other  piece  is 
8"xl9"  folded  lengthwise.  The  4"xl9"  piece  (after  it  is  doubled  and 
stitched)  is  placed  on  the  larger  piece  about  2l/z"  from  one  edge  and 
stitched  on  three  edges. 

NAPKIN  CASE. 

No.  4.  This  napkin  case  is  made  of  two  pieces  of  cretonne,  each 
15"x22",  folded  lengthwise.  Each  piece  is  stitched  separately,  then 
the  two  are  made  to  form  a  cross  and  stitched  together. 


39 
WORKING  DIRECTIONS  FOR  HANDKERCHIEF  CASE 

PREPARING  MATERIAL. 

Straighten  one  short  edge  of  the  material  by  drawing  a  thread 
and  cutting  on  the  line  (Chap.  II,  Par.  102).  Straighten  one  long 
edge  of  the  material  in  like  manner.  On  the  short  edge  measure  out 
16"  (the  length  of  the  handkerchief  case  doubled).  Draw  a  thread 
lengthwise  and  cut  on  the  line.  Down  the  long  edge  measure  out 
18"  (the  width  of  the  handkerchief  case  before  it  is  folded);  draw  a 
thread  crosswise  and  cut  on  the  line. 

PREPARING  MATERIAL  FOR  POCKETS. 

This  handkerchief  case  is  to  be  made  double,  and  after  the 
material  has  been  properly  sewred  together  it  is  to  be  folded  to  form 
pockets,  then  trimmed  with  lace,  as  shown  in  the  illustration.  As 
the  handkerchief  case  is  to  be  made  of  a  double  thickness  of  the 
material,  the  first  step  is  to  fold  the  material  together  lengthwise  with 
the  right  side  turned  in  and  the  long  edges  and  the  ends  made  exactly 
even.  Pin  in  several  places  along  the  open  edges  to  hold  them  in 
position  until  they  have  been  basted  together.  Baste  the  two  ends 
together  with  uneven  basting  (Chap.  II,  Par.  104),  using  *4"  seam. 

A  cardboard  71/2/'x91/2"  is  to  be  placed  between  the  double  thick- 
ness of  material  under  the  pockets.  A  space  OMz"  long  must  therefore 
be  left  in  the  center  of  the  long  edge.  To  do  this,  baste  41/^".  towards 
the  center  from  each  corner,  leaving  a  space  of  9V2"  unbasted.  Fasten 
the  pieces  together  permanently  by  sewing  along  the  line  of  the 
basting  with  the  combination  stitch  (Chap.  II,  Par.  108).  NOTE:  The 
handkerchief  case  is  sewed  together  wrong  side  out  so  the  seams  will 
be  inside  when  the  case  is  turned.  Be  careful  to  fasten  the  threads 
firmly  at  each  side  of  the  opening  where  the  cardboard  is  to  be 
slipped  in,  as  there  will  be  considerable  strain  there.  The  edges  of 
the  opening  are  to  be  finished  with  a  hem  turned  toward  the  wrong 
side  of  the  material.  Baste  with  even  basting  (Chap.  II,  Par.  103), 
using  a  narrow  first  turning,  and  hem  neatly  (Chap.  II,  Par.  114). 
Turn  right  side  out  before  the  ends  are  folded  over  to  form  the 
pockets;  the  ends  are  to  be  finished  with  lace.  Lay  the  right  side  of  the 
lace  on  the  under  side  of  the  handkerchief  case  on  one  end  and 
overhand  the  two  together  along  the  edge  (Chap.  II,  Par.  112).  Sew 
the  lace  on  the  other  end  in  the  same  manner. 


40 

TO  FORM  THE  POCKETS. 

The  pockets  are  to  be  formed  by  folding  the  lace-trimmed  ends 
of  the  handkerchief  case  to  the  center.  To  do  this,  first,  find  the 
center  by  folding  the  two  ends  of  the  case  together  and  creasing 
sharply  with  the  thumb  nail  on  the  fold;  then  open  and  lay  the  edges 
of  the  lace  even  with  this  crease  so  they  will  just  meet  in  the  center. 
Crease  the  fold  made  at  each  end.  Baste  along  the  edges  of  the 
pockets  fastening  them  to  the  under  side  of  the  handerchief  case  with 
uneven  basting  or  tacking  (Chap.  II,  Par.  104  or  105). 

TO  TRIM  WITH  LACE. 

Overhand  the  lace  (Chap.  II,  Par.  112)  entirely  around  the  outside 
edges  of  the  handkerchief  case  gathering  it  neatly  at  the  corners. 
NOTE:  Be  sure  to  catch  both  thicknesses  of  the  material  along  the 
sides  of  the  pockets  so  as  to  hold  them  in  place,  but  where  the  open 
ing  is  left  for  the  cardboard  the  overhanding  stitches  should  catch 
only  the  top  layer  of  material.  Remove  the  bastings. 

TO  FINISH  THE  BOTTOM. 

Cut  a  piece  of  wrhite  cardboard  7l/2"x9l/2".  Slip  it  into  the  open- 
ing left  for  it  in  the  handkerchief  case. 

ANOTHER  METHOD  OF  FORMING  THE  POCKETS. 

The  pockets  may  be  left  loose  and  held  in  place  by  a  ribbon 
fastened  in  the  center  of  the  under  side  of  the  case.  To  do  this,  sewr 
the  lace  all  the  w^ay  around  the  outside  edges  of  the  case  before 
folding  the  pockets,  being  careful  to  sewr  it  to  the  upper  edge  only  of 
the  space  which  is  left  open  for  the  cardboard. 


41 


SEWING  APRON 

MATERIALS. 
Batiste  (Chap.  I,  Par.  2). 

Vz   yd.   batiste   or   any   soft, 
plain  colored  material. 

1V2  yds.  ribbon. 

San  silk  or  mercerized  em- 
broidery cotton. 

Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

Since  laundering  handmade  articles,  particularly  if  they  are 
decorated  with  handwork,  frequently  destroys  much  of  their  attrac- 
tive appearance,  it  is  desirable  to  keep  them  as  clean  as  possible 
during  the  making  so  as  to  avoid  laundering.  In  order  to  do  this  it 
is  necessary  not  only  to  wash  ones  hands  frequently,  but  to  protect 
the  article  from  any  dust  that  may  cling  to  ones  clothing. 

A  small  apron  answers  this  purpose  very  well  and  as  there  is 
very  little  strain  on  it  and  it  is  not  subject  to  any  hard  use,  it  may  be 
made  as  dainty  as  one  desires.  There  are  a  great  many  styles  and 
designs  of  sewing  aprons,  but  one  with  a  pocket  in  which  to  keep 
thimble,  needle  and  thread  is  especially  desirable. 

The  apron  presented  in  this  lesson  is  made  as  simple  as  possible. 
It  is  not  set  on  a  band  but  merely  has  a  hem  at  the  top  through  wrhich 
a  ribbon  may  be  run.  While  it  does  not  present  any  of  the  difficulties 
of  a  more  complicated  apron,  it  will  be  found  very  satisfactory  for 
the  service  for  which  it  is  intended. 


References : 

Sewing  Apron,  Library  of  Work  and  Pi-ay,  Vol.  VII. 
The  Story  of  Shears,  Wiss  Bros.,  Newark,  X.  J. 
Manufacture  of  Thimbles,  Scoville  Mfg.  Co. 


42 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


COMBINATION  SEWING  APRON  AND  BAG. 

No.  1.  This  project  may  be  made  of  %  yard  of  toweling.  The 
pocket  is  10  Mz"  deep.  Two  pieces  of  ribbon,  or  tape,  serve  as  draw 
strings  and  ties.  The  bib  of  the  apron  is  tucked  inside  of  the  bag 
When  not  in  use. 


No.  2.  A  sewing  apron  may  be  made  of  lawn  %  yard  long  and 
22"  wide.  Pattern  should  be  drawn  freehand.  A  casing  for  a  ribbon 
band  is  hemmed  onto  the  apron  at  the  waist  line. 

WHITE  LAWN  SEWING  APRON. 

No.  3.  This  sewing  apron  is  made  of  white  lawn  with  2"  hems 
on  each  side  and  at  the  bottom.  The  two  bottom  corners  are  turned 
up  to  form  pockets.  The  lace  is  overhanded  together  down  the  center 
of  the  pocket.  FANCY  SEWING  APRON. 

No.  4.  A  fancy  sewing  apron  may  be  made  of  white  lawn,  with 
scalloped  edge  and  embroidered  dots  worked  in  a  delicate  color  wTith 
strings  and  rosettes  made  of  ribbon. 


43 
WORKING  DIRECTIONS  FOR  SEWING  APRON 

PREPARING  MATERIAL. 

The  apron  in  this  lesson  may  be  made  crosswise  of  the  material. 
This  will  bring  a  selvage  on  the  hem  at  the  top  of  the  apron  and  also 
at  the  top  of  the  pocket;  as  a  selvage  usually  draws  the  edge  of  the 
material  when  laundered,  trim  it  off.  Straighten  one  long  edge  of 
the  material  by  drawing  a  thread  and  cutting  on  the  line  (Chap.  II, 
Par.  102);  from  this  line  measure  out  18"  (half  a  yard),  the  width  of 
the  apron,  and  draw  a  thread;  cut  on  the  line. 

TO  FINISH  THE  EDGES. 

Measure  down  from  the  top  of  the  apron  $l/z"  to  the  place  where 
the  top  of  the  pocket  will  come,  on  one  long  edge.  Mark  with  a  pin. 
On  this  long  edge  turn  a  l/2"  hem  with  a  narrow  first  turning  toward 
the  under  side  of  the  apron  and  crease  firmly  in  place.  Where  the 
pin  is  placed,  make  a  cut  across  the  hem  and  turn  the  edge  over 
in  a  hem  toward  the  upper  or  right  side  of  the  apron  the  rest  of  the 
way  to  the  bottom  (this  part  of  the  hem  will  be  inside  the  pocket 
when  made).  In  this  apron  the  basting  thread  is  used  as  a  trimming 
for  the  apron  and  should  be  of  a  color  that  will  contrast  nicely  with 
the  material  used  and  each  stitch  should  be  made  as  nearly  perfect 
as  possible.  Baste  the  hem  in  place  with  even  basting  (Chap.  II,  i 
Par.  103)  with  thread  to  match  the  material  in  the  apron.  Finish 
the  opposite  edge  of  the  apron  in  the  same  manner.  The  cross-stitch 
Chap.  II,  Par.  124)  or  catch  stitch  (Chap.  II,  Par.  120)  may  be  used 
instead  of  the  basting  to  trim  the  apron. 

TO  FINISH  THE  TOP  END. 

As  you  will  notice  by  looking  at  the  illustration,  this  apron  has 
no  band,  but  is  held  in  place  with  a  ribbon  which  is  run  through  a 
casing  formed  by  a  hem  at  the  top  of  the  apron.  To  prepare  this 
casing  turn  a  hem  with  a  narrow  first  turning  1"  toward  the  wrong 
side.  Crease  carefully  and  pin  crosswise  at  each  end  to  keep  from 
slipping.  Baste  in  place  with  even  basting  (Chap.  II,  Par.  103)  and 
hem  (Chap  II,  Par.  114)  neatly.  Remove  bastings. 

TO  FINISH  THE  BOTTOM  OF  THE  APRON. 

A  hem  at  the  bottom  of  the  material  finishes  the  top  of  the  pocket. 
(The  material  is  to  be  turned  up  to  form  the  pocket.)  In  order  to 
have  this  hem  inside  of  the  pocket  when  the  pocket  is  folded  in 


44 

place,  the  hem  must  be  turned  toward  the  right  side  of  the  material. 
Fold  hem  about  V*"  wide  with  a  narrow  first  turning,  baste  carefully 
in  place  with  even  basting  (Chap.  II,  Par.  103)  and  hem  neatly  (Chap. 
II,  Par.  114).  Remove  bastings. 

The  hem  may  be  finished  on  the  right  side  with  featherstitching 
(Chap.  II,  Par.  121)  or  cross-stitching  (Chap.  II,  Par.  124). 

TO  FORM  THE  POCKETS  OF  THE  APRON. 

The  pockets  should  be  about  half  as  deep  as  the  apron,  but  the 
depth  may  be  varied  according  to  the  taste  of  the  one  making  the 
apron.  This  must  be  decided  when  the  hem  is  made  down  the 
edge  of  the  apron  as  the  pocket  must  extend  up  to  the  place  where 
the  hem  is  turned  toward  the  under  side.  The  pocket  in  the  illustra- 
tion is  made  SW  deep.  To  form  the  pocket  fold  the  bottom  edge 
of  the  material  8y2"  up  on  the  right  side  and  pin  in  several  places, 
being  careful  that  both  edges  are  even.  Baste  the  pockets  and  the 
under  side  of  the  apron  together  with  even  basting  (Chap.  II,  Par.  103) 
and  overhand  them  together  (Chap.  II,  Par.  109).  Fasten  the  thread 
very  securely  at  the  top,  where  it  will  be  subjected  to  considerable 
strain. 

A  line  of  stitches  is  made  up  and  down  the  center  of  this  pocket, 
dividing  it  into  two  parts.  To  find  the  center,  lay  the  opposite  edges 
of  the  apron  together  and  make  a  sharp  crease  on  the  fold  with  the 
thumb  nail.  Mark  this  crease  with  a  basting  thread,  then  backstitch 
(Chap.  II,  Par.  107)  up  the  crease,  to  form  the  two  pockets.  (If  you 
have  used  cross-stitching  or  featherstitching  to  finish  the  hems  on 
the  apron,  use  a  corresponding  stitch  to  divide  the  pockets).  Fasten 
the  stitches  very  securely  at  the  top. 

Run  the  ribbon  through  the  hem  at  the  top  of  the  apron,  making 
the  ends  extend  evenly.  In  the  center,  on  the  under  side  of  the  hem, 
take  twro  or  three  backstitches  through  the  ribbon.  This  will  keep 
the  ribbon  from  slipping  out  of  place.  Cotton  tape  or  mercerized 
dress  braid  can  be  substituted  for  the  ribbon,  or  a  1"  band  may  be 
made  from  the  material  by  doubling  under  and  stitching,  or  over- 
handing  together  (Chap.  II,  Par.  109)  the  edges  of  a  strip  about  2l/2" 
w<ide  and  long  enough  to  reach  around  the  waist;  it  may  be  fastened 
with  a  hook  and  eye  (Chap.  II,  Par.  133). 


45 

BOOK  COVER 

MATERIALS. 

Butcher's  Linen   (Chap.  I,  Par.  42). 
Linen  Crash  (Chap.  I,  Par.  44). 

1  piece  of  linen  1"  longer  than  length 
of  book  and  8"  wider  than  twice  the 
width  of  the  book  to  be  covered,  meas- 
uring from  the  edge  of  the  book  to  the 
middle  of  the  back  binding. 

Colored  embroidery  lloss  with  Crewel  or 
embroidery  needle  to  correspond. 

White  thread  No.  70. 
Needle  No.  8. 

INTRODUCTORY  STATEMENT. 

Everyone  loves  a  nicely  bound  book,  but  the  hard  use  to  which 
books  are  sometimes  placed,  oftentimes  destroys  the  beauty  of  the 
binding.  A  book  that  is  used  constantly  may  be  protected  by  some 
sort  of  cover,  either  cloth  or  tough  paper.  Books  which  are  carried 
back  and  forth  to  school  and  exposed  to  different  kinds  of  weather 
may  be  made  to  last  very  much  longer  and  retain  their  newness  if 
properly  covered. 

The  book  cover  presented  in  this  lesson  is  made  of  cloth  and  may 
be  constructed  to  fit  any  size  book,  the  book  of  course  being  meas- 
ured before  the  project  is  begun.  When  such  a  book  cover  be- 
comes soiled  it  may  be  easily  removed  and  washed. 


References : 

Bookbinding,   in   Printing  and  Writing   Materials,  A.  M.  Smith. 
New  International  Encyclopaedia,  Vol.  Ill,  pp.  224-226. 


46 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


CHRISTMAS 
WISHES 


COVER  FOR  STORY  BOOK. 

No.  1.  This  book  cover  is  made  of  linen  crash  to  fit  a  book 
entitled,  "The  Story  of  the  Three  Bears."  An  original  design  is 
transferred  with  carbon  paper  and  worked  with  the  outline  etching 
stitch  in  brown  and  dark  green. 

COVER  FOR  COOKBOOK. 

No.  2.  This  book  cover  is  made  of  white  linen,  or  Indian  head  to 
fit  a  cookbook.  The  design  is  worked  with  the  outline  etching  stitch. 
White  oil  cloth  also  makes  a  suitable  cover  for  a  cookbook. 

BOOK  COVER  FOR  CHRISTMAS. 

No.  3.  This  book  cover  is  made  of  linen  crash  to  fit  a  book  used 
as  a  Christmas  gift,  the  season  being  indicated  by  the  holly,  blue 
birds,  and  Christmas  wishes. 

BOOK  COVER  FOR  TEXTBOOK. 

No.  4.  This  book  cover  is  made  to  fit  a  textbook  on  manual 
training.  The  design  on  the  front  cover  of  the  book  was  copied  by 
laying  thin  white  paper  over  the  cover  and  tracing  the  design  on 
the  paper,  then  transferring  it  to  the  book  cover  with  carbon  paper. 
It  is  worked  with  brown  embroidery  cotton  using  the  outline  etching 
stitch. 


47 
WORKING  DIRECTIONS  FOR  BOOK  COVER 

PREPARING  MATERIAL. 

If  necessary  straighten  the  shorter  edge  of  the  material  (Chap.  11, 
Par.  102).  Straighten  the  adjoining  edge  of  the  material  in  like 
manner.  If  either  edge  is  a  selvage  trim  off  about  14"  of  it  to  keep 
the  edge  from  puckering  when  laundered. 

The  size  of  the  book  cover  will  depend  on  the  size  of  the  book 
which  you  wish  to  cover.  The  length  of  the  book  cover  should  be 
1"  more  than  the  length  of  the  book.  This  will  allow  for  two  %" 
hems  with  1/4"  turnings.  The  flaps  should  be  wide  enough  to  hold  the 
cover  securely  in  its  place  on  the  book.  Three  to  SVfe"  is  a  good 
width  for  a  moderate  sized  book  cover.  The  width  of  the  book  cover 
should  be  twice  the  width  of  the  book  from  the  edge  of  the  cover 
to  the  middle  of  the  back  binding  plus  71/fc"  for  the  two  flaps  and  hems. 

Measure  out  on  the  short  edge  of  the  material  the  length  of  the 
book  cover;  draw  a  thread  lengthwise  and  cut  on  the  line.  Measure 
down  the  long  edge  the  dimension  for  the  width  of  the  book  cover 
and  draw  a  thread  crosswise;  cut  on  the  line. 

TO  FINISH  THE  LONG  EDGES. 

The  long  edges  of  the  book  cover  should  be  finished  with  hems 
before  the  flaps  are  turned,  so  they  will  lap  under  properly  when  the 
flaps  are  made  to  receive  the  cover  of  the  book.  On  one  edge  make 
a  hem  y±"  wide  with  a  *4"  first  turning  creasing  it  carefully  on  a 
thread.  Baste  with  even  basting  (Chap.  II,  Par.  103).  Try  the  cover 
on  the  book  to  see  whether  the  1/4"  hem  allowed  on  the  other  side  will 
make  it  just  the  right  size.  The  other  hem  should  be  just  the  same 
width  as  the  first  one ;  if  there  is  extra  material  there,  trim  it  off  even 
with  a  thread.  Make  the  hem  on  the  second  edge  in  the  same  manner 
as  the  first. 

TO  MAKE  THE  FLAP. 

The  raw  edge  on  the  end  of  the  flap  might  be  finished  with  a  plain 
hem  1A"  to  1"  deep,  but  a  hemstitched  hem  is  more  attractive,  so  it 
has  been  Used  in  the  cover  shown  in  the  illustration.  It  is  to  be  %" 
wide.  Fold,  pin  crosswise,  baste  and  single  hemstitch  in  place  (Chap. 
II,  Par.  115).  Prepare  the  opposite  end  in  the  same  way. 

To  finish  the  first  flap,  fold  the  end  of  the  cloth  over  3"  onto  the 
wrong  side  of  the  material.  Baste  with  even  basting  (Chap.  II,  Par. 


48 

103),  and  overhand  (Chap.  II,  Par.  109)  the  ends  onto  the  body  of 
the  book  cover.    Prepare  the  other  flap  in  the  same  manner. 

THE  DESIGN. 

The  initial  to  be  placed  on  the  book  cover  may  be  designed  in  the 
drawing  class,  or  a  commercial  pattern  may  be  used.  The  initial 
designed  should  be  simple  in  form  for  it  requires  considerable  prac- 
tice to  work  an  elaborate  initial. 

If  a  commercial  pattern  is  used,  transfer  the  initial  by  laying  it 
rough  side  dowrn  in  the  proper  place  on  the  book  cover  and  pressing 
it  with  a  hot  iron.  To  use  the  carbon  paper,  pin  a  piece  a  trifle  larger 
than  the  letter  in  the  place  desired,  place  the  initial  over  it  and  trace 
around  it  \vith  a  lead  pencil.  Remove  the  pattern  and  carbon  paper. 

TO  WORK  THE  INITIAL. 

The  initial  is  to  be  worked  with  the  satin  stitch  (Chap.  II,  Par. 
131).  Use  embroidery  cotton  that  will  harmonize  or  contrast  nicely 
in  color  and  fineness  with  the  material.  The  padding  for  the  satin 
stitch  may  be  done  with  embroidery  cotton  of  appropriate  color. 


49 


BUTTON  BAG 

MATERIALS. 

Linen  Crash  (Chap.  I,  Par. 
44). 

Gingham  (Chap.  I,  Par.  19). 

1  piece  linen  crash  or 
checked  gingham  9"  wide, 
22"  long. 

Embroidery  floss  or  san  silk 
(colored)  with  embroid- 
ery needle  to  correspond. 

Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

Some  place  in  which  to  keep  the  collection  of  buttons  of  various 
sorts  is  a  necessity  in  every  household.  Buttons  may  be  cut  from 
worn  out  or  discarded  garments  and  kept  in  this  receptacle  for  fu- 
ture use. 

The  design  and  shape  of  a  button  bag  is  not  important,  as  its 
principal  purpose  is  for  convenience.  It  may  be  desirable  to  make 
it  rather  large  with  several  compartments  so  as  to  provide  suitable 
places  in  which  to  keep  different  kinds  of  buttons. 

As  this  bag  is  made  for  service  it  should  be  of  some  strong,  sub- 
stantial material.  It  is  not  intended  to  be  a  piece  of  art  needlework, 
it  should,  however,  be  neatly  made  for  no  project  however  simple 
should  ever  be  carelessly  done. 


References : 

Manufacture  of  Buttons,  The  Great  Industries  of  the  United  States. 
Story  of  the  Making  of  Buttons,  How  We  Are  Clothed,  Chamberlain. 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


BUTTON  BAG. 

No.  1.  This  bag  is  made  of  gingham.  The  freehand  design  was 
transferred  with  carbon  paper,  worked  with  the  outline  etching  stitch 
and  trimmed  with  buttons  and  beads. 

CROCHET  BAG. 

No.  2.  This  bag  is  made  of  ribbon,  with  narrow  pleats  feather- 
stitched  on  each  side,  to  make  a  strip  to  hang  over  the  w7rist.  A 
pocket  for  the  crochet  cotton  is  formed  by  sewing  the  ends  together. 

MARBLE   BAG. 
No.  3.     This  marble  bag  is  made  of  linen  crash  in  the  same  way 

as  No.  1. 

BUTTON  BAG. 

No.  4.  This  bag  is  made  from  a  circular  piece  of  gingham, 
hemmed  around  the  edge.  Two  strips  12"  long  and  4"  wide  are 
stitched  on  in  the  shape  of  a  cross  in  the  center  of  the  inside  of  the 
bag;  the  open  ends  form  pockets.  It  is  closed  with  cotton  tape  drawn 
through  eight  brass  rings  sewed  on  the  edge  of  the  bag. 


51 
WORKING  DIRECTIONS  FOR  BUTTON  BAG 

PREPARING  MATERIAL. 

Straighten  two  adjoining  edges  of  the  material  (Chap.  II,  Par. 
102).  On  the  shorter  edge  measure  out  8"  (the  width  of  the  bag), 
draw  a  thread  lengthwise  and  cut  on  the  line  drawn.  On  one  long 
edge,  measure  down  20"  (twice  the  length  of  the  bag  plus  the  hems  at 
the  top).  Draw  a  thread  and  cut  on  the  line. 

TO  FINISH  THE  LONG  EDGES. 

This  bag  is  to  be  joined  on  the  edges  with  an  overhand  seam 
(Chap.  II,  Par.  110).  The  raw  edges  of  the  seams  are  to  be  turned 
under  and  hemmed  down  to  make  neat  seams  inside  the  bag.  On  one 
of  the  long  edges  of  the  material  fold  a  hem  about  1/4"  wide  with  a 
narrow  even  first  turning.  Baste  with  even  basting  (Chap.  II,  Par. 
103)  and  hem  neatly  (Chap.  II,  Par.  114).  Finish  the  opposite  edge 
in  like  manner. 

TO  MAKE  THE  HEMS  ON  THE  ENDS. 

(These  hems  must  be  made  before  the  bag  is  sewed  up).  On 
one  end  of  the  material  fold  a  hem  1*4"  wide  with  a  narrow  first 
turning.  Baste  with  even  basting  (Chap.  II,  Par.  103)  and  sew  neatly 
in  place  with  a  hemming  stitch  (Chap.  II,  Par.  114). 

A  space  must  be  provided  in  this  hem  through  which  to  slip 
the  draw  string.  To  do  this,  make  a  row  of  running  stitches  the  full 
length  of  the  hem  (about  %"  from  the  edge).  Finish  the  other  end 
of  the  material  in  the  same  manner.  The  design  should  be  placed 
on  the  bag  before  sewing  up  the  seams. 

MAKING  AND  TRANSFERRING  THE  DESIGN. 

It  is  very  desirable  to  have  an  original  design  worked  out  in 
the  drawing  class.  To  transfer  the  design  to  the  bag,  first  fold  the 
ends  of  the  bag  over  as  you  would  if  you  were  going  to  sew  the  edges 
together.  Next  lay  a  piece  of  carbon  paper  just  a  trifle  larger  than 
the  design,  carbon  side  down  on  the  bag,  in  the  position  which  you 
think  is  best  suited  for  the  design.  Place  the  design  on  this  and  pin 
it  to  the  bag  in  several  places  to  keep  it  from  slipping.  Trace  around 
the  design  with  a  lead  pencil.  Remove  pattern  and  carbon  paper  from 
the  bag  and  work  the  design  with  the  outline  etching  stitch  (Chap. 
II,  Par.  125). 


52 

TO  FINISH   THE   SEAMS  ON   THE  BAG. 

As  overhand  seams  are  frequently  sewed  together  on  the  right 
side,  you  may  lay  the  wrong  sides  of  the  material  together  making  all 
the  edges  even.  As  it  is  necessary  to  leave  the  casings  in  the  hem 
open  at  the  ends  for  the  draw  string,  you  may  begin  at  the  hemming 
stitches  on  the  lower  edge  of  the  end  hems  and  baste  the  hemmed 
edges  together  with  even  basting  stitches  (Chap.  II,  Par.  103).  Then 
overhand  the  basted  edges  making  an  overhand  seam  on  each  edge 
of  the  bag  (Chap.  II,  Par.  110). 

PUTTING  IN  THE  DRAW  STRING. 

There  should  be  two  draw  strings  of  ribbon  or  tape  about  V±" 
wide,  each  one  being  cut  6"  longer  than  twice  the  width  of  the  bag. 
With  a  bodkin  or  hair  pin,  fastened  to  the  end  of  one  of  the  strings, 
draw  it  through  the  casing  around  both  sides  of  the  bag,  bringing  the 
end  through  until  it  meets  the  other  end.  Tie  the  two  ends  in  a  bow 
knot  as  shown  in  the  illustration. 

Starting  the  other  string  through  one  of  the  openings  in  the  op- 
posite end  of  the  casing,  draw  it  through  the  casing  around  both 
sides  of  the  bag  in  the  opposite  direction  from  the  wray  the  first  tape 
was  drawTn,  pull  it  through  until  both. ends  are  even,  just  as  you  did 
with  the  first,  then  tie  the  ends  in  a  bo\vknot. 

If  desired  the  raw  edges  on  the  ends  of  the  tape  may  be  notched, 
cut  diagonally,  or  hemmed  with  1/4"  hems  (Chap.  II,  Par.  114). 


53 


HAIR  RECEIVER 

MATERIALS. 
Cretonne  (Chap.  I,  Par.  12).. 

1  piece  of  cretonne  7"xl4". 

1  piece    of    featherbone    9" 
long. 

San  silk  or  embroidery  cot- 
ton to  harmonize  with  the 
cretonne. 

2  small  rings. 

1  crewel  or  embroidery- 
needle  to  correspond. 

Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

Every  girl  should  learn  to  keep  her  room  as  neat,  clean  and  at- 
tractive as  possible.  It  may  not  be  furnished  with  fine  furniture,  but 
it  should  be  well  kept.  Nothing  adds  to  the  charm  of  a  girl's  room 
more  than  to  have  it  properly  supplied  writh  little  conveniences  of  her 
own  make. 

A  very  useful  accessory  to  a  girl's  dresser  or  dressing  table  is  a 
hair  receiver,  as  there  is  nothing  more  unsightly  than  a  comb  filled 
with  hair  or  bunches  of  hair  lying  about. 

The  hair  receiver  affords  an  opportunity  for  a  girl  to  show  her 
skill  and  good  taste;  many  designs  have  been  worked  out  some  of 
which  are  suggested  on  the  next  page.  Whatever  design  is  used 
should  be  neatly  made  and  rather  decorative  in  appearance. 

The  hair  receiver  presented  in  this  lesson  is  very  simple  and  will 
not  be  at  all  difficult.  It  is  provided  with  a  cord  so  that  it  may  be 
hung  near  the  dresser  or  on  one  of  the  supports  that  holds  the  mirror. 


References: 

Embroideries  and  Their  Stitches.    Butterick  Publishing  Co.,  N.  Y. 
Embroidery,  W.  G.  Townsend.     Truston,  London. 


54 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


HANDKERCHIEF  HAIR  RECEIVER. 

No.  1.  This  hair  receiver  is  made  from  a  bordered  handkerchief. 
An  embroidery  hoop  is  placed  under  the  points  of  the  four  corners, 
the  body  of  the  handkerchief  is  pushed  down  inside  to  form  a  bag; 
it  is  gathered  around  the  hoop. 

CORNUCOPIA  HAIR  RECEIVER. 

No.  2.  This  hair  receiver  is  made  from  white  Indian  head  or 
linen,  hemmed  around  the  edges,  embroidered,  starched  in  cold 
starch,  ironed,  fastened  together  at  the  top  and  bottom  and  hung 
with  loops  of  ribbon. 

EMBROIDERED  HAIR  RECEIVER. 

No.  3.  This  hair  receiver  is  made  from  white  linen,  scalloped  and 
embroidered  with  the  satin  stitch.  It  is  held  together  with  ribbon 
laced  through  eyelets,  and  held  open  at  the  top  with  featherbone.  The 
baby  ribbon  provides  a  hanger  and  part  of  the  decoration. 

LAWN  HAIR  RECEIVER. 

No.  4.  This  hair  receiver  is  made  from  white  lawrn  with  flaps 
similar  in  shape  to  the  bottom  of  the  bag.  The  top  is  held  open  with 
featherbone.  The  bag  is  suspended  with  baby  ribbon  finished  at  the 
ends  with  rosettes. 


OD 


WORKING  DIRECTIONS  FOR  HAIR  RECEIVER 

PREPARING  MATERIAL. 

Straighten  the  short  edges  of  the  material  (Chap.  II,  Par.  102). 
The  curves  at  the  bottom  of  the  hair  receiver  may  be  drawn  free- 
hand on  the  material,  which  should  be  folded  crosswise,  but  it  would 
possibly  be  safer  to  draw  a  pattern  on  paper  and  use  that  as  a  guide 
in  cutting  out  the  hair  receiver. 

TO  MAKE  THE  PATTERN. 

Cut  a  piece  of  paper  about  6"  square;  fold  two  edges  together 
evenly.  This  makes  the  folded  paper  half  the  width  of  the  receiver. 
As  the  top  of  the  receiver  is  to  be  straight,  do  not  change  the  top  edge 
of  the  pattern,  but  at  the  bottom  from  the  folded  edge  cut  off  the 
outside  open  corners  in  a  graceful  curve  as  showTn  in  the  illustration 
on  the  front  page. 

TO  CUT  OUT  THE  HAIR  RECEIVER. 

Open  the  pattern  and  lay  it  on  the  double  thickness  of  the  goods 
with  the  wrong  side  out;  make  the  top  exactly  even  with  the  straight- 
ened edges  of  the  material.  To  keep  the  pattern  from  slipping,  pin 
it  to  the  goods  at  each  corner  of  the  top  and  at  the  bottom,  then  care- 
fully cut  out  the  hair  receiver;  cut  through  both  thicknesses  of 
material.  Remove  the  pattern. 

TO  MAKE  THE  SEAMS. 

The  curved  edges  of  the  two  pieces  that  are  to  form  the  hair 
receiver  are  to  be  joined  with  an  overcast  seam.  To  make  the  seam, 
first  pin  the  material  together  (wrong  side  out)  in  two  or  three 
places  to  keep  it  from  slipping,  then  follow  directions  for  an  overcast 
seam  (Chap.  II,  Par.  140),  sewing  the  seam  with  the  backstitch  (Chap. 
II,  Par.  107),  or  combination  stitch  (Chap.  II,  Par.  108).  Trim  off  the 
ravelings  and  overcast  the  seams  neatly  (Chap.  II,  Par.  113). 

TO  FINISH  THE  TOP. 

As  the  cloth  is  to  be  gathered  slightly  on  featherbone  V8"  wide 
which  is  run  through  a  hem  in  the  top  of  the  hair  receiver,  make  the 
hem  y4"  wide,  with  a  narrow  first  turning  turned  toward  the  wrong 
side;  baste  (Chap.  II,  Par.  103),  and  hem  it  in  place  (Chap.  II,  Par. 
114).  As  the  featherbone  is  inserted  after  the  hem  is  made,  it  will 
be  necessary  to  leave  a  space  of  about  M>"  unsewed  in  the  edge  of  the 


56 

hem,  preferably  near  one  of  the  seams.    After  the  hem  is  completed, 
turn  the  hair  receiver  right  side  out. 

Single  featherstitching  (Chap.  II,  Par.  121)  may  be  used  to  finish 
the  hem  on  the  right  side  if  desired.  If  it  is  used,  omit  the  hemming 
stitches. 

TO  FINISH  CURVED  EDGE. 

Single  featherstitching  (Chap.  II,  Par.  121)  is  used  around  the 
curved  edge  of  the  hair  receiver.  Special  care  will  be  required  to 
make  the  featherstitching  perfectly  even  on  the  curved  edge. 

TO  PUT  IN  THE  FEATHERBONE. 

As  featherbone  is  rough  at  the  cut  end,  it  is  very  difficult  to  run 
this  through  a  hem  without  having  it  covered  with  a  small  piece  ot 
cotton  cloth.  To  do  this,  take  a  strip  of  the  cretonne  V->"  wide  and  1" 
long,  double  it  over  the  end  of  the  featherbone  and  fold  it  around 
it;  sew  in  place  with  the  overcasting  stitch  (Chap.  II,  Par.  113), 
sewring  through  the  featherbone  with  each  stitch.  After  the  end  of 
the  featherbone  is  covered  push  it  through  the  casing,  or  hem,  at  the 
top  of  the  receiver.  Gather  the  material  in  the  hair  receiver  slightly 
on  the  featherbone,  as  shown  in  the  illustration.  Fasten  the  two  ends 
of  the  featherbone  by  overlapping  them  about  l/2",  then  sewing 
through  and  through  them  until  they  are  securely  fastened  together, 
Wrap  the  thread  around  the  joint  several  times  to  keep  it  from  making 
a  bulge  in  the  hem;  fasten  the  thread  securely.  (Cut  off  any  extra 
featherbone).  The  opening  may  be  hemmed  down. 

TO  PUT  ON  THE  HANGER. 

Sew  an  ivory  ring  on  the  top  end  of  each  seam.  The  bag  may  be 
suspended  with  white  cord  or  ribbon  the  ends  of  which  are  simply 
tied  at  each  end  in  a  bowknot. 


57 


HOLDER 

MATERIALS. 

Chambray  (Chap.  I,  Par.  9) 
or 

Gingham  (Chap.  I,  Par.  19). 

Outing     Flannel     (Chap.     I, 
Par.  30). 

1   piece   chambray   or   ging- 
ham 10"x27". 

1  piece  outing  flannel  9"xl4". 
1  yard  %"  cotton  tape. 
Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

In  lifting  hot  utensils  it  is  very  desirable  to  have  a  holder.  As 
the  purpose  of  the  holder  is  to  protect  the  hands  from  the  heat,  it 
should  be  made  thick  enough  to  keep  the  heat  from  penetrating  it 
quickly.  For  this  reason  it  is  always  interlined  or  made  of  several 
thicknesses  of  material.  It  is  often  quilted  with  parallel  rows  of 
machine  stitching  to  keep  the  layers  of  material  from  slipping. 

The  interlining  is  sometimes  made  separate  from  the  cover  and 
removed  when  the  cover  is  washed.  Odd  pieces  of  percale,  gingham 
or  similar  material  left  over  in  making  dresses  may  be  used  in 
making  holders. 

The  holder  in  this  lesson  is  made  writh  an  interlining  and  has  a 
tape  with  \vhich  to  suspend  it  from  the  apron  band. 


References : 

The  Making  of  Thread,  The  Great  Industries  of  the  United  States. 
Handicraft  for  Girls,  McGlauflin.     Manual  Arts  Press. 


58 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SQUARE  HOLDER. 

No.  1.  This  holder  is  made  by  covering  two  thicknesses  of  out- 
ing flannel  with  denim  or  percale.  A  tape  or  ring  with  which  to  hang 
it  on  a  hook  is  sewed  in  one  corner. 

ENVELOPE-SHAPED    HOLDER. 

No.  2.  This  holder  is  made  by  making  an  envelope  of  percale 
or  denim  9"  square.  It  has  a  double  thickness  of  outing  flannel  to 
pad  the  inside.  The  flap  is  held  shut  by  a  button  or  snap. 

ROUND  HOLDER. 

No.  3.  This  holder  is  made  by  basting  two  thicknesses  of  outing 
flannel  between  two  covers  of  percale  or  denim,  then  finishing  the 
edges  with  mercerized  dress  braid  wrhich  is  stitched  on  with  the 
sewing  machine,  or  hemmed  on  by  hand. 

"CHICKEN"  IRON  HOLDER. 

No.  4.  For  this  holder  two  chicken-shaped  pieces  are  made  of 
percale  and  stuffed  with  cotton  batting  to  give  them  a  rounded  appear- 
ance. They  are  overhanded  together  along  their  backs  so  as  to  sit 
like  a  saddle  on  the  iron  handle. 


59 
WORKING  DIRECTIONS  FOR  HOLDER 

PREPARING  MATERIAL  FOR  COVER. 

Straighten  one  short  edge  of  the  material  (Chap.  II,  Par.  102). 
(If  the  edge  is  selvage,  trim  it  off  to  prevent  puckering  when  laun- 
dered). Straighten  an  adjoining  edge  of  the  material  in  the  same 
manner.  Measure  out  on  the  short  edge  Sl/2"  the  width  of  the  holder. 
Draw  a  thread  lengthwise  and  cut  on  the  line.  Measure  down  on  the 
long  edge  27",  twice  the  length  of  the  holder,  plus  the  width  of  the 
hems.  Draw  a  thread  crosswise  and  cut  on  the  line. 

MAKING  THE  OUTSIDE. 

As  you  will  notice  in  the  illustration  for  this  lesson,  a  pocket 
is  formed  on  each  end  by  folding  the  ends  of  the  material  to  the 
center.  Before  folding  the  pockets,  the  hems  should  be  made  on  the 
ends  of  the  material.  Fold  a  %"  hem  with  a  *4"  first  turning  on 
one  end  of  the  material,  baste  with  even  basting  (Chap.  II,  Par.  103), 
keeping  it  even  with  the  thread;  sew  in  place  with  the  hemming 
stitch  (Chap.  II,  Par.  114).  If  desired,  you  may  turn  the  hem  away 
from  you  and  with  the  right  side  of  the  material  toward  you,  finish 
the  edge  of  the  hem  on  the  right  side  with  catch  stitching  (Chap.  II, 
Par.  120),  featherstitching  (Chap.  II,  Par.  121)  or  backstitching  (Chap. 
II,  Par.  107).  Make  a  hem  on  the  opposite  end  in  the  same  way, 
being  careful  to  turn  it  to  the  same  side  of  the  material. 

Find  the  center  by  folding  the  two  ends  together  exactly  even; 
crease  along  the  fold  with  the  thumb  nail.  Open  the  material  and 
with  the  hems  turned  outside,  fold  the  two  ends  over  to  this  center 
crease  (be  sure  to  have  the  raw  edges  even). 

Baste  the  raw  edges  together  with  uneven  basting  (Chap.  II,  Par. 
104);  sew  them  together  with  the  combination  stitch  (Chap.  II,  Par. 
108).  Overcast  (Chap.  II,  Par.  113)  the  raw  edges,  remove  the  basting 
and  turn  right  side  out. 

TO  PREPARE  THE  INSIDE. 

The  outing  flannel  padding  should  be  made  the  required  size  to  lit 
inside  of  the  cover.  To  do  this,  straighten  one  of  the  shorter  edges 
(Chap.  II,  Par.  102).  Straighten  an  adjoining  edge  in  the  same  man- 
ner. Measure  out  on  the  shorter  edge  8"  (the  width  of  the  inside  of 
the  holder).  Draw  a  thread  crosswise  and  cut  on  the  line.  Measure 
down  on  the  long  edge  YIW  (the  length  of  the  inside  of  the  holder). 
Draw  a  thread  lengthwise  and  cut  on  the  line. 


60 

As  the  padding  is  made  separate  from  the  outside  of  the  holder, 
the  edges  of  the  outing  flannel  should  be  finished  in  some  way  to  keep 
them  from  raveling.  This  may  be  done  with  overcasting  (Chap.  II, 
Par.  113),  or  blanket  stitching  (Chap.  II,  Par.  128);  or  two  thicknesses 
of  material  may  be  used,  turning  in  the  edges  and  overhanding  them 
together  (Chap.  II,  Par.  109). 

TO  SEW  ON  THE  TAPE. 

If  the  holder  is  to  be  hung  on  an  apron  band  the  tape  should  be 
long  enough  to  let  it  come  to  the  bottom  of  the  apron,  from  27  to 
36".  To  sew  on  the  tape,  first  turn  in  the  raw  edge  at  one  end  and 
place  it  at  the  center  of  the  back  of  the  holder  near  the  edge  where 
the  ends  of  the  pockets  join  as  shown  in  illustration.  Turn  under 
the  raw  edge  and  place  it  so  it  overlaps  the  holder  about  1o".  Hem 
the  tape  on  the  holder  down  one  edge,  across  the  bottom,  and  up  the 
other  edge,  being  careful  that  the  stitches  do  not  run  through  to  the 
pockets. 

The  other  end  of  the  tape  which  is  to  be  suspended  from  the 
apron  band,  is  finished  with  a  loop.  To  make  this,  fold  the  raw  edge 
over  2"  onto  the  tape.  Turn  it  in  and  hem  it  in  place.  Overhand  the 
double  fold  together  about  y±"  up  from  the  hemming  stitches  and 
backstitch  (Chap.  II,  Par.  107)  across  it;  then  overhand  down  to  the 
hemming  stitches  (Chap.  II,  Par.  109). 


61 


CHILD'S  BIB 

MATERIALS. 

Huckaback  (Chap.  I,  Par. 
20  or  47). 

1  piece  of  huckaback  12"xl4". 

Embroidery  iloss  (color  de- 
sired) crewel  or  embroid- 
ery needle  to  correspond. 

2  buttons. 
Thread  No.  50. 
Needle  No.  6. 


INTRODUCTORY  STATEMENT. 

A  bib  is  very  necessary  to  protect  the  dress  of  a  child  when  eating. 

The  material  used  in  making  the  bib  should  be  washable  and 
heavy  enough  to  prevent  moisture  from  penetrating  quickly.  Turkish 
toweling,  huckaback,  linen,  or  any  smooth  finished,  firm,  wash  ma- 
terial will  be  satisfactory. 

Frequently  a  design  that  will  attract  a  child's  attention  is  selected 
to  ornament  the  bib.  A  bib  is  very  practical  because  it  can  be  re- 
moved and  washed  much  more  easily  than  a  dress.  It  is  usually 
fastened  around  the  neck  with  ties  made  of  white  tape  or  of  wash- 
able ribbon.  Buttons  and  buttonholes  are  often  used. 

Where  buttons  and  buttonholes  are  used  as  in  this  lesson,  the 
bib  must  be  fitted  more  carefully  to  the  neck  than  wrould  be  required 
if  ties  were  used. 


References: 

Home  and  School  Sewing,  Frances  Patton.     Xewson  Co.,  N.  Y. 
Flax,  U.  S.  Farmers'  Bulletin  No.  669. 


G2 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


CHILD'S  BIB. 

No.  1.  This  bib  is  made  of  Turkish  toweling.  The  hem  is 
basted  toward  the  wrong  side  and  single  featherstitched  in  place  with 
rather  coarse,  mercerized  embroidery  cotton.  The  design  is  drawn 
on  the  cloth  freehand  and  wrorked  in  outline  etching  stitch. 

CHILD'S  BIB. 

No.  2.  This  bib  wras  purchased  with  the  figures  stamped.  The 
edge  was  finished  with  a  plain  hem  on  the  wrong  side  and  the  figures 
outlined  wdth  the  etching  stitch. 

CHILD'S   KIMONO   BIB. 

No.  3.  This  bib  is  cut  from  a  child's  kimono  apron  pattern,  it 
is  about  5"  long  in  the  back  and  16"  long  in  front.  It  is  finished  with 
a  plain  hem  around  the  edge ;  the  sleeves  are  tied  together  with  ribbon. 

CHILD'S  BIB. 

No.  4.  This  bib  is  made  from  huckaback.  Any  bib  pattern  may 
be  used  and  a  freehand  design  may  be  transferred  onto  the  bib  with 
carbon  paper.  The  edge  is  finished  with  a  narrow  hem  and  rick- 
rack  braid. 


63 
WORKING  DIRECTIONS  FOR  CHILD'S  BIB 

PREPARING  MATERIAL. 

A  commercial  pattern  may  be  used  for  this  bib,  or  a  freehand 
pattern  may  be  made  as  follows: 

TO  DRAFT  THE  PATTERN. 

Use   a   rectangular   piece   of  wrapping  paper   10"   wide   and   13" 
long.    Fold  the  paper  lengthwise  in  the  center. 

(1)  From  the  top  corner  of  the  fold  measure  down  6"  (the  depth 
of  the  neck),  place  a  dot  and  number  it  1. 

(2)  To  lay  out  the  width  of  the  back  of  the  bib,  measure  out 
from  the  top  corner  of  the  fold  33/4"  on  the  unfolded  edge  of  the 
paper,  place  a  dot  and  number  it  2. 

(3)  To  get  the  proper  slant  for  the  opening  at  the  back  of  the 
bib,  measure  down  from  the  same  corner  2"  on  the  fold;   number 
this  3.    Connect  3  and  2  with  a  straight  line. 

(4)  To  locate  curve  for  the  back  of  the  neck  measure  up  from 
dot  3  on  this  slanting  line  1*4".    Place  a  dot  and  number  it  4. 

(5)  To  aid  in  drawing  the  curve  for  the  neck,  measure  down 
from  dot  3  on  the  fold  21/£";  place  a  dot  and  measure  out  from  the 
fold  21/4";  place  a  dot;  number  the  dot  5.     Connect  dots  1,  5  and  4 
with  a  continuous  curved  line. 

To  Round  Corners:- 

(6)  From  the  upper  corner  of  the  unfolded  edge  of  the  paper 
measure  down  3"  and  place  a  dot  and  number  it  6.    Connect  6  and  2 
with  an  outward  curved  line. 

(7)  To  round  the  corners  of  the  bottom  of  the  bib,  measure  up 
2"   from  the  bottom  corner  of  the  unfolded  edge  of  the  paper  and 
place  a  dot.    From  the  same  corner,  measure  out    2"  on  the  bottom 
edge  and  place  a  dot.    Connect  the  two  dots  with  an  outward  curved 
line.     Cut  on  all  the  lines  drawn. 

To  Design  the  Scallops: 

(8)  To  make  the  scallops  around  the  edge  of  the  pattern,  keep 
it  folded  and  draw  a  line  y^"  from  the  edge  of  the  pattern  all  the  way 
around.     Lay  a  penny,  or  circular  piece  of  cardboard  that  size,  6n 
the  fold  at  the  bottom  of  the  pattern  and  draw  a  line  around  the 
lower  edge  of  the  penny,  making  it  touch  the  bottom  of  the  pattern 
and  come  just  to  the  parallel  line  above  it.    Lift  the  penny  and  place 


64 

it  so  a  line  drawn  around  the  lower  edge  will  touch  the  bottom  of 
the  pattern  and  cross  the  parallel  line  in  two  places,  one  end  touching 
the  end  of  the  first  scallop.  Draw  the  curved  line.  Repeat  all  the 
way  around  on  the  outside  edge  of  the  folded  pattern  as  shown  in 
the  illustration.  Adjust  the  last  notches  to  make  them  neat  and  even. 
Use  a  half  dollar  or  a  piece  of  cardboard  that  size  and  lay  out  the 
top  curve  of  each  scallop.  Cut  out  the  pattern  around  the  bottom 
",dge  of  the  scallops. 

TO  CUT  OUT  THE  BIB. 

Fold  the  material  lengthwise  in  the  center,  lay  the  center  fold 
of  the  pattern  on  the  fold  of  the  material.  Pin  in  two  or  three  places 
to  keep  the  pattern  from  slipping.  Cut  around  the  neck  and  mark 
around  the  scallops,  but  do  not  cut  them  out  until  after  they  are 
embroidered  and  the  bib  is  laundered. 

TO  FINISH  THE  NECK. 

The  neck  is  bound  with  bias  tape.  Use  %"  commercial  bias  tape, 
which  is  already  folded,  or  cut  bias  strips  (Chap.  II,  Par.  143)  making 
them  3/4"  wride.  Turning  the  seam  towards  the  wrong  side,  baste 
one  edge  around  the  curve  in  the  neck  with  even  basting  (Chap.  II, 
Par.  103),  then  sew  it  on  with  the  combination  stitch  (Chap.  II,  Par. 
108).  Turn  the  facing  or  binding,  back  toward  the  wrrong  side  and 
turn  under  the  raw  edge,  making  the  facing  even.  Baste  carefully 
in  place,  then  hem  in  place. 

Fold,  baste  and  sew  in  place  writh  running  stitches  a  hem  one-half 
inch  wide  on  each  edge  of  the  opening  at  the  back  of  the  bib. 

Cut  and  work  two  buttonholes  (Chap.  II,  Par.  136)  crosswise  of 
the  hem  in  the  right  hand  edge  of  the  opening  and  sew  on  the  buttons 
to  correspond  (Chap.  II,  Par.  135). 

WORKING  THE  SCALLOPS  AND  THE  DESIGN. 

Work  the  scallops  with  blanket  stitch  (Chap.  II,  Par.  128),  plac- 
ing the  stitches  close  together.  If  the  edge  of  the  material  is  not  cut 
away  until  after  the  bib  is  laundered  the  edge  will  not  fray. 

Lay  out  and  work  the  design  with  the  outline  etching  stitch 
(Chap.  II,  Par.  125),  using  the  same  kind  of  thread  used  in  making 
the  scallops. 


REVIEW  QUESTIONS  AND  PROBLEMS. 

1.  How  would  you  straighten  the  edge  of  a  piece  of  cloth? 

2.  How  would  you  make  a  line  on  a  piece  of  cloth  in  order  to 
cut  it  perfectly  straight?     Why  could  you  not  use  a  ruler  and  lead 
pencil  and  rule  a  straight  line  as  you  would  on  a  piece  of  paper? 

3.  What  sort  of  material  is  most  suitable  for  the  leaves  of  a 
needlebook?    Explain  why. 

4.  What  is  the  most  common  use  of  the  basting  stitch?     For 
what  other  purpose  have  you  seen  it  used? 

5.  For  what  purpose  is  the  blanket  stitch  used?     Has  it  any 
other  use? 

6.  What  is  a  hem,  and  why  is  the  exposed  edge  of  a  piece  of 
material  usually  hemmed? 

7.  Why  do  we  baste  a  hem  before  hemming  it  down? 

8.  Explain  how  to  sew  on  a  loop.    Name  some  home  projects  in 
which  you  would  use  a  loop  of  tape. 

9.  Why  is  a  handkerchief  case  particularly  serviceable?     Give 
at  least  three  reasons  why  such  a  case  is  practicable. 

10.  How  is  the  running  stitch  made? 

11.  Name  two  or  three  useful  home  projects  in  which  the  run- 
ning stitch  would  be  used.    Explain. 

12.  How  is  overhanding  done?    In  what  projects  have  you  used 
this  process? 

13.  What  are  some  of  the  most  important  things  to  think  about 
in  designing  a  sewing  apron? 

14.  What  is  the  purpose  of  cross-stitching?    Name  three  or  four 
home  projects  upon  which  this  stitch  could  appropriately  be  used. 

15.  How  many  wrays  have  you  learned  for  working  an  initial? 
Which  do  you  like  best?     Explain  why. 

16.  What  is  the  purpose  of  a  draw  string?     What  preparation 
is  necessary  where  a  draw  string  is  to  be  used? 

17.  Name  three  or  four  home  projects  in  which  a  draw  string 
is  used. 

18.  What  is  an  outline  etching  stitch?    How  is  it  made? 

19.  Name   all   the   stitches   which   you   have  used  thus   far   for 
decoration. 

20.  What  things  have  you  learned  from  this  section  that  you 
can  use  on  your  own  clothing? 


66 
SUGGESTIONS  FOR  HOME  APPLICATION. 

1.  When  needles  are  removed  from  the  paper  at  home,  notice 
where  your  mother  keeps  them.     Perhaps  they  are  kept  in  a  pin 
cushion.    Make  a  pin  cushion  out  of  some  art  canvas  or  other  loosely 
woven  material  using  stitches  to  decorate  the  top,  similar  to  those 
used  on  the  bookmark,  or  napkin  ring  shown  in  this  section. 

2.  Observe  the  hand  towels   at   home.     How   are   they  made? 
Why  are  most  of  them  longer  than  the  towel  given  in  lesson  two? 
What  advantages   can  you   see  in   hemming  kitchen  towels   on  the 
sewing  machine?     Talk  to  your  mother  about  this.     Ask  her  to  let 
you  make  the  next  towels  that  are  needed  at  home. 

3.  Notice  the  hems  on  the  sheets  at  home.    Why  is  it  more  prac- 
tical to  stitch  these  hems  on  the  sewing  machine  than  to  hem  them 
by  hand?    Ask  your  mother  why  the  top  hem  is  usually  made  wider 
than  the  bottom  hem.    Why  are  there  no  hems  on  the  sides  of  sheets? 
If  the  hem  is  handmade  what  kind  of  stitches  do  you  usually  find 
used?     Perhaps  you   can  find   a   sheet  with   a   seam   in  the   center, 
although  sheets  made  in  this  way  are  uncommon  now-a-days.     See 
whether  you  can  find  out  why.    Ask  permission  to  make  or  to  assist 
in  making  the  next  sheets  needed  at  home. 

4.  Can  you  explain  why  some  pillow  cases  have  seams  down  the 
side  and  some  have  not?    If  you  can  find  one  with  the  seam,  observe 
it  carefully.     How  is  the  bottom  of  a  pillow  case  finished?     Visit  a 
dry  goods  store  if  possible  and  find  out  the  price  of  pillow  tubing  and 
of  unbleached  and  bleached  muslin  which  is  sold  for  making  pillow 
cases.     Inquire  as  to  why  unbleached  muslin  wears  better  and  is 
cheaper  than  bleached  muslin.    Which  would  you  prefer  to  buy,  and 
wrhy?    Make  a  pair  of  pillow  cases  for  your  room. 

See  if  you  can  find  out  the  price  of  ready-made  pillow  cases  with 
a  plain  hem  and  with  a  hemstitched  hem;  then  compare  with  the 
price  you  would  have  to  pay  for  the  same  grade  of  muslin  to  make 
the  pillow  cases.  Judging  from  these  figures,  if  you  made  a  pair  of 
pillow  cases,  how  much  would  you  receive  for  your  work? 

5.  What  kind  of  waterproof  material  would  be  especially  de- 
sirable to  use  in  covering  a  cookbook?     Heavy  paper  is  sometimes 
used  to  cover  school  books.     Get  a  good  quality  of  tough  paper  and 
cover  some  of  your  books  at  home. 

6.  How  are  extra  buttons  usually  cared  for?     Do  you  always 
remove  and  save  the  buttons  before  throwing  a  worn  out  garment 


67 

into  the  rag  bag?  Perhaps  you  know  of  someone  who  would  ap- 
preciate a  nice  button  bag  for  a  Christmas  gift.  Design  and  make 
one  at  home  for  this  purpose. 

7.  A  bag  for  soiled  handkerchiefs  or  dust  cloths  can  be  made 
on  the  same  principle  as  the  hair  receiver;  it  should  be  larger.    Make 
one  for  your  room  using  your  owrn  ideas  as  to  proper  size  and  dec- 
oration.   If  possible  use  a  piece  of  material  which  you  have  at  home 
so  as  to  avoid  expense. 

8.  If  you  made  the  child's  bib  given  in  this  section  you  have 
had  some  practice  embroidering  a  scalloped  edge.     Name  some  dif- 
ferent articles  that  you  could  make  that  would  be  very  pretty  finished 
with  a   scalloped  edge.     Then  make   some   article  with  a   scalloped 
edge.     Possibly,  if  it  is  well  done,  your  teacher  would  be  glad  to 
have  you  save  it  for  an  exhibit  day. 

9.  If  you  have  made  buttonholes  in  school  it  would  be  an  ex- 
cellent idea  to  make  more  at  home,  as  it  takes  considerable  practice 
to  become   skillful.     Try  to   make   a  buttonhole   so  well  that   your 
mother  will  be  glad  to  let  you  work  the  buttonholes  in  some  garment 
that  she  may  be  making. 


68 


INTRODUCTION  TO  SECTION  II 

BY  the  time  the  students  have  completed  Section  I,  they  should 
be   pretty    familiar   with   the   most    common    forms    of    simple 
stitches,  but  skill  and  judgment  in  the  application  of  eyen  the 
most  elementary  processes  come  only  with  long  practice.    It  is  there- 
fore advised  that  students  be  not  allowed  to  pass  too  quickly  from 
the  elementary  projects. 

This  section  sets  forth  projects  which  call  for  a  little  more  ability 
in  actual  sewing  work;  it  also  offers  opportunity  for  wider  exercises 
of  individual  taste.  Students  should  be  encouraged  to  study  the 
suggestions  for  optional  modification  very  carefully  before  under- 
taking any  project.  They  should  be  expected  to  incorporate  as  many 
original  ideas  as  possible  in  their  work. 

The  home  work  recommended  at  the  close  of  this  section  deals 
with  just  such  problems  as  are  continually  arising  in  every  home 
and  the  students  should  be  expected  to  carry  out  this  part  of  their 
instruction.  Some  of  the  undertakings  recommended  should  be 
brought  to  school  and  done  at  the  regular  sewing  period.  However, 
if  this  is  not  desirable  some  plan  might  be  devised  whereby  each  girl 
could  report  on  the  wrork  done  at  home  and  receive  recognition  or 
credit  of  some  sort  for  such  work. 

Frequent  references  should  be  made  to  the  supplement  through- 
out the  lessons  of  this  section,  for  it  is  very  important  that  early 
habits  and  practices  be  properly  formed.  The  mechanical  operations 
involved  in  the  various  details  should  gradually  become  less  difficult, 
thus  giving  the  students  an  opportunity  to  concentrate  their  attention 
in  securing  excellent  results  in  their  wrork  as  a  whole. 


69 


FILING  POCKET 

MATERIALS. 

Brown  gingham  (Chap.  I, 
Par.  19)  or 

Brown  Chambray  (Chap.  I, 
Par.  9)  or 

Linen  crash  (Chap.  I,  Par. 
44). 

Cretonne  (Chap.  I,  Par.  12). 

1  piece  linen,  gingham  or 
chambray,  12"  wide  x  28" 
long. 

1  piece  cretonne  3"  wide  x 
12"  long. 

1  piece  cardboard  OV^'xllMz". 

2  brass  rings  about   %"  in 
diameter. 

Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

As  a  successful  business  man  has  a  systematic  method  of  filing 
letters  and  keeping  valuable  papers  in  a  definite  place  in  order  to 
increase  the  efficiency  of  his  office  work,  so  the  home  keeper  will 
find  that  her  work  may  be  lightened  by  having  definite  places  in  which 
to  keep  the  many  little  things  which  are  so  easily  mislaid.  A  filing 
pocket  provides  one  means  of  caring  for  different  articles,  for  instance 
bulletins  in  the  kitchen,  patterns  in  the  sewing  room,  or  unanswered 
letters  near  the  writing  table. 

The  material  used  in  a  filing  pocket  will  depend  somewhat  on 
the  use  to  which  it  is  to  be  put.  If  it  is  to  contain  heavy  bulletins, 
it  should  be  made  of  strong  material,  like  denim,  or  heavy  cretonne. 
If  it  is  to  hold  light  papers  it  may  be  made  of  percale,  chambray, 
gingham  or  light  weight  cretonne. 


References : 

The  Cotton  Plant,  U.  S.  Bulletin  601. 
Cotton  Improvement,  U.  S.  Bulletin  501. 


70 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


FILING  POCKET. 

No.  1.  This  is  a  large  filing  pocket  made  of  strong  cloth;  the 
edges  are  bound,  a  stick  run  through  the  wide  hem  holds  the  top 
straight.  It  is  very  serviceable  for  sewing  patterns. 

BULLETIN  FILE. 

No.  2.  This  file  is  very  similar  to  No.  1.  It  will  be  found  con- 
venient in  caring  for  club  bulletins  or  other  small  pamphlets. 

WALL  POCKET. 

No.  3.  This  project  shows  a  modification  in  which  the  pockets 
are  enlarged  considerably  so  as  to  serve  many  purposes. 

SLIPPER  CASE. 

No.  4.  The  large  loose  pockets  held  with  elastic  at  the  top  pro- 
vide a  convenient  slipper  case. 


71 

WORKING  DIRECTIONS  FOR  FILING  POCKET 

PREPARING  MATERIAL. 

If  necessary,  straighten  two  adjoining  edges  of  the  material  by 
drawing  a  thread  and  cutting  on  the  line  (Chap.  II,  Par.  102).  If  there 
is  a  selvage,  trim  it  off.  On  the  short  edge  measure  out  12"  or  the 
width  of  the  filing  pocket  before  making.  Tear  the  material  length- 
wise, or  draw  a  thread  and  cut  on  the  line.  On  the  longer  edge  of  the 
material  measure  down  28",  twice  the  length  of  the  back  and  pocket. 
Tear  crosswise,  or  draw  a  thread  and  cut  on  the  line.  If  you  tear 
the  material,  pull  the  cloth  straight  (Chap.  II,  Par.  101)  and  trim  off 
the  ravelings. 

PREPARING  FOR  THE  POCKET. 

This  filing  pocket  is  made  of  a  double  thickness  of  cloth.  With 
the  right  side  in,  fold  one  short  edge  even  with  the  opposite  one, 
making  the  fold  at  the  bottom.  Crease  this  with  the  thumb  nail. 
Baste  the  two  long  edges  together  writh  short  uneven  basting  (Chap. 
II,  Par.  104).  About  1A"  from  the  edge  stitch  just  inside  of  the  bast- 
ings with  the  sewing  machine  (Chap.  II,  Par.  164),  or  sew  with  the 
combination  stitch  (Chap.  II,  Par.  108).  Turn  the  material  right  side 
out,  being  careful  to  push  the  corners  out  with  the  point  of  the  shears 
and  to  make  the  edges  perfectly  straight  (if  you  have  stitched  the 
seams  carefully  you  should  be  able  to  crease  these  outside  edges  even 
with  a  thread).  The  upper  edges,  which  are  now  open  are  to  be 
overhanded  together  (Chap.  II,  Par.  110)  after  the  cardboard  is  put  in. 
The  raw  edges  must  be  turned  in  before  overhanding,  so  you  may  turn 
them  in  one-fourth  of  an  inch,  even  writh  a  thread,  and  baste  them  in 
place  with  uneven  basting. 

TO  MAKE  THE  POCKET. 

The  edge  of  this  pocket  as  showrn  in  the  illustration  is  trimmed 
with  a  band  of  cretonne.  This  should  be  sewed  on  before  the  pocket 
is  turned  up.  Straighten  the  edges  of  the  cretonne  (Chap.  II,  Par. 
102),  making  it  21/2"xll1/2",  or  the  exact  width  of  the  finished  filing 
case,  plus  Vi" •  Turn  the  raw  edges  even  with  a  thread  one-fourth  of 
an  inch  toward  the  wrong  side  all  the  way  around  and  baste  them 
with  uneven  basting  (Chap.  II,  Par.  104).  Care  shouM  be  taken  to 
keep  this  piece  a  perfect  rectangle.  Baste  it  carefully  on  all  four 
edges  to  the  folded  end  of  the  filing  pocket.  The  ends  will  be  stitched 
when  the  pocket  is  sewed  in  place.  Stitch  the  top  and  bottom  edges 
in  place  with  very  even  machine  stitching,  or  finish  them  by  hand 


72 

with  catch  stitching  (Chap.  II,  Par.  120)  or  featherstitching  (Chap.  II, 
Par.  121,  122,  123).  Fold  up  this  end  of  the  filing  pocket  onto  the 
material  the  depth  desired  for  the  pocket,  or  about  four  and  one-half 
inches  (with  the  strip  of  cretonne  turned  out).  Baste  the  doubled 
edges  together  with  uneven  basting,  overhand  (Chap.  II,  Par.  110)  the 
edges  together,  sewing  through  the  cretonne,  or  stitch  on  the  machine. 

PREPARING  AND  PUTTING  IN  THE  CARDBOARD. 

A  piece  of  cardboard  should  be  cut  to  fit  the  inside  of  the  back 
of  the  filing  pocket.  This  should  be  9y2"xliy2",  but  will  probably 
vary  somewhat  in  size,  as  a  very  slight  variation  in  the  width  of  the 
seams  or  the  depth  of  the  pocket  will  make  a  change  in  the  size  of 
the  back  of  the  filing  pocket.  Measure  the  back  carefully  and  cut 
the  cardboard  to  fit  it.  Slip  the  cardboard  between  the  two  thick- 
nesses that  form  the  back  of  the  filing  pocket  and  overhand  the  open 
edges  together. 

SEWING  ON  THE  RINGS. 

To  sew  on  each  ring,  knot  the  thread  and  insert  the  needle  about 
one-half  inch  from  the  top  edge  of  the  filing  pocket  bringing  it  up  on 
the  edge  about  one-half  inch  from  the  corner.  Holding  a  portion  of 
the  ring  next  to  the  edge  where  the  needle  came  out,  sew  over  and 
over  it  six  or  eight  times.  Fasten  the  thread  by  running  the  needle 
through  the  two  thicknesses  of  cloth  about  one-half  inch. 


73 


SLEEVELETS 

MATERIALS. 

White  Cotton  Cambric  (Chap. 
I,   Par.   G). 

Long  Cloth  (Chap.  I,  Par.  24). 

1  piece  white  goods  Vs  yard 
long  and  27"  wide. 

Thread  No.  70. 

Needle  No.  8. 

1  yard  narrow  white  elastic. 


INTRODUCTORY  STATEMENT. 

Every  girl  knows  how  difficult  it  is  to  keep  the  bottom  of  long 
sleeves  clean  when  at  work.  Sleevelets  made  of  paper  and  pinned  to 
fit  the  arm  will  offer  some  protection.  As  they  are  only  temporary 
and  tear  easily,  they  are  not  very  satisfactory. 

Sleevelets  made  of  cloth  are  much  more  practical.  As  they  usu- 
ally require  frequent  laundering,  they  should  be  made  of  wash  ma- 
terials, the  color  depending  somewhat  on  the  use  for  which  they  are 
intended.  Black  sateen  is  often  used  for  sleevelets  to  be  worn  in  an 
office  or  store  while  white  cambric  or  dainty  colored  gingham,  per- 
cale or  chambray  is  generally  used  for  sleevelets  to  be  worn  in  the 
kitchen,  or  at  work  about  the  house. 

While  sleevelets  may  be  finished  at  the  bottom  in  several  ways, 
one  of  the  simplest  methods  is  to  gather  in  the  extra  fullness  with  an 
elastic.  The  sleevelets  shown  in  this  lesson  have  an  elastic  band  at 
the  top  and  bottom,  making  them  adjustable  to  any  sized  arm.  These 
sleevelets  may  be  used  as  part  of  a  cooking  uniform  for  school. 


References : 

A  Profitable  Cotton  Farm,  U.  S.  Bulletin  364. 
The  Cotton  Plantation,  U.  S.  Bulletin  326. 


74 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


BUTTONED   SLEEVELETS 

No.  1.  Sleevelets  are  sometimes  provided  with  a  button  and 
buttonhole  instead  of  elastic  at  the  bottom;  the  elastic  is  frequently 
used  at  the  top  of  such  sleevelets. 

HEMSTITCHED  CUFFS. 

No.  2.  Where  pretty  dainty  sleevelets  are  desired  they  may  be 
made  short  and  hemstitched.  When  neatly  laundered  they  are  very 
attractive. 

PLAIN  CUFFS. 

No.  3.  Sleevelets  are  sometimes  made  perfectly  plain;  they  may 
then  be  starched  stiff  and  fastened  in  place  with  a  pin. 

PLAIN  SLEEVELETS. 

No.  4.  Sleevelets  may  be  made  perfectly  plain,  starched  like  the 
cuffs  and  held  in  place  with  a  pin. 


75 

WORKNG  DIRECTIONS  FOR  SLEEVELETS 

PREPARING  MATERIAL. 

Straighten  two  adjoining  edges  of  material  (Chap.  II,  Par.  102) 
if  necessary.  Trim  off  any  selvages.  Measure  out  on  the  shorter 
edge  12"  (the  length  of  the  sleevelets  before  making).  Tear  crosswise, 
or  draw  a  thread  and  cut  on  the  line  (Chap.  II,  Par.  102).  Measure 
out  on  the  long  edge  IS1/-/'  (the  width  of  one  sleevelet  before  it  is 
made)  and  tear  lengthwise  or  draw  a  thread  and  cut  on  the  line. 
The  piece  of  material  left  should  be  12"xl3",  the  size  of  the  other 
sleevelet.  Trim  off  the  ravelings  on  the  edges  if  you  have  torn  the 
material.  Cut  out  the  second  sleevelet  in  the  same  manner. 

MAKING  THE  SEAM  ON  THE  SLEEVELET. 

One  sleevelet  may  be  made  and  when  it  is  completed  the  other 
may  be  made  exactly  like  it,  or  the  sleevelets  may  be  made  together 
by  repeating  each  process  on  the  second  sleevelet  after  you  have 
finished  it  on  the  first.  In  these  directions  you  are  to  complete  one 
sleevelet  before  making  the  second  one.  The  sleevelet  should  be  made 
a  little  narrower  at  the  bottom  than  at  the  top.  To  do  this,  fold  the 
material  lengthwise  in  the  center.  On  one  end  which  is  to  be  the 
bottom  of  the  sleevelet,  measure  in  from  the  raw  edge  one  inch  and 
mark  with  a  pin.  From  the  upper  corner  at  the  top  of  the  same  edge, 
fold  the  cloth  diagonally  to  the  pin.  Cut  on  this  diagonal  fold,  mak- 
ing a  slanting  edge  from  the  bottom  to  the  top  of  the  sleevelets.  Baste 
the  slanting  edges  together  using  the  uneven  basting  stitch  (Chap.  11, 
Par.  104);  finish  them  with  a  French  seam  (Chap.  II,  Par.  137).  The 
bottom  of  the  sleevelet  is  to  be  finished  with  a  hem  provided  with  a 
casing  through  which  to  draw  the  elastic  that  gathers  it  at  the  wrist. 

To  make  this  hem,  make  a  first  turning  about  1A"  toward  the 
wrong  side  of  the  sleevelet  then  make  a  second  turning  about  1^4" 
toward  the  same  side;  baste  with  even  basting  stitches  (Chap.  II,  Par. 
103)  and  sew  in  place,  with  machine  stitching  (Chap.  II,  Par.  164), 
or  hem  neatly  by  hand,  leaving  about  ^A"  unsewed  through  which  to 
insert  the  elastic.  To  form  the  casing  for  the  elastic  measure  down 
about  %"  below*  the  sewed  edge  of  the  hem  and  make  a  row  of 
machine  stitching  or  running  stitches  (Chap.  II,  Par.  106)  parallel 
with  the  edge  of  the  hem.  Remove  the  bastings. 


76 

THE  HEM  AT  THE  TOP  OF  THE  SLEEVELET. 

The  hem  at  the  top  of  the  sleevelet  shown  in  the  illustration 
serves  as  a  casing  through  which  to  run  the  elastic.  Make  this  hem 
about  %"  wide  with  *4"  first  turning;  baste  with  even  basting  (Chap. 
II,  Par.  103)  and  sew  in  place  with  the  hemming  stitch  (Chap.  II,  Par. 
114)  or  stitch  with  the  sewing  machine  (Chap.  II,  Par.  164)  leaving 
about  }4"  unsewed  (at  the  seam)  in  which  to  insert  the  elastic. 

PUTTING  IN  THE  ELASTIC. 

As  the  fullness  at  the  bottom  of  the  sleevelet  is  to  be  gathered  on 
an  elastic  band,  cut  a  piece  of  elastic  one-half  inch  longer  than  the 
wrist  measure.  With  a  bodkin,  or  hair  pin,  draw  the  elastic  through 
the  casing,  letting  the  two  ends  extend  outside  the  opening.  Overlap 
the  ends  and  sew  them  together  firmly;  slip  them  inside  of  the  casing 
in  the  hem  and  sew  up  the  opening  left  in  the  hem.  If  you  have  sewed 
the  hem  by  hand  this  small  opening  may  be  sewed  with  the  hemming 
stitch;  if  you  have  stitched  it  on  the  sewing  machine  sew  it  on  the 
right  side  with  backstitches  (Chap.  II,  Par.  107). 

As  the  fullness  at  the  top  of  the  sleevelet  is  also  gathered  on  an 
elastic  band,  cut  a  second  piece  of  elastic  one-half  inch  longer  thai 
the  measurement  of  the  arm  just  below  the  elbow.  Draw  it  through 
the  casing  and  fasten  it  just  as  you  did  at  the  bottom  of  the  sleevelet. 
Finish  the  hem  in  the  same  manner. 

Make  the  second  sleevelet  in  the  same  manner  that  you  did 
the  first. 


77 


CAP 

MATERIALS. 

Lawn   (Chap.  I,  Par.  23)   or 
Cotton    Cambric     (Chap.    I, 
Par.  6)  or 

Long  Cloth  (Chap.  I,  Par.  24). 

1  piece  of  white  wash  goods 
about  21"  square. 

1  yard  of  lace. 

%  yard  of  elastic  %"  wide. 

Thread  No.  70. 

Needle  No.  8. 

Commercial  pattern,  or  a 
piece  of  Manilla  wrapping 
paper  about  22"  square. 


INTRODUCTORY  STATEMENT. 

In  order  to  keep  the  hair  in  a  healthy  condition,  it  is  necessary 
to  keep  the  scalp  clean.  It  is,  therefore,  very  desirable  to  protect 
the  head  when  working  in  the  dust.  This  has  made  the  so-called  dust 
caps  very  popular. 

While  silks,  laces,  and  dainty,  sheer  materials  are  used  in  caps 
which  are  worn  simply  for  ornament,  the  service  to  which  a  dust  cap 
is  to  be  subjected  requires  that  it  be  made  of  material  firm  enough 
to  keep  out  the  dust.  However,  this  does  not  prevent  the  use  of  dainty 
colors  such  as  pale  pink  and  blue  ginghams,  percales  or  similar 
materials.  The  white  cap  is  usually  becoming  and  looks  very  at- 
tractive in  the  kitchen. 

Although  these  caps  are  frequently  made  with  a  brim  which 
calls  for  two  pieces  of  material,  the  cap  in  this  lesson  is  made  of  one 
piece  only.  This  cap  may  be  worn  as  part  of  a  cooking  uniform 
for  school. 


References : 


Cotton    Spinning.     Marsden-Macmillan  Co. 
Grading  of  Cotton,  U.  S.  Bulletin  591. 


78 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


CAP  WITH  BRIM. 

No.  1.     This  cap  has  a  turned  back  brim  which  may  be  piped, 
trimmed  with  braid  or  rickrack. 

LACE  TRIMMED  CAP. 

No.  2.     Narrow  lace  may  be  used  effectively  in  trimming  a  cap 
which  is  intended  to  be  rather  dainty. 

EMBROIDERED  CAP. 

No.  3.     The  turned  up  brim  presents  an  opportunity  to  use  vari- 
ous decorative  stitches,  both  en  its  surface  and  edges. 

LACE  CAP. 

No.  4.     The  combination  of  lace  and  silk  offers  unlimited  oppor- 
tunities in  designing  attractive  effects  in  dainty  caps. 


79 

WORKING  DIRECTIONS  FOR  CAP 
PREPARING  MATERIAL. 

This  cap  is  made  from  a  circular  piece  of  cloth  about  21"  in 
diameter.  To  make  a  pattern  for  the  cap,  draw  a  circle  that  size  on 
a  piece  of  manilla  wrapping  paper  (use  a  pencil  and  a  string);  fold 
it  on  one  of  its  diameters  and  cut  it  in  halves.  Use  one-half  of  the 
pattern  to  lay  out  the  cap. 

PREPARING  THE  CIRCULAR  PIECE. 

Fold  the  material  in  the  center  and  pin  the  straight  edges  of  the 
pattern  on  the  fold,  also  pin  it  in  two  or  three  places  around  the 
curve.  Cut  carefully  around  the  curve,  remove  the  pattern  and  open 
the  circular  piece  of  cloth.  This  circle  of  cloth  is  to  be  finished  with  a 
hem,  preferably  a  rolled  hem,  although  it  is  more  difficult  to  make 
than  the  flat  hem.  Make  a  rolled  hem  (Chap.  II,  Par.  118)  around 
the  edge  and  sew  in  place  as  you  roll  it,  or  a  narrow,  flat  hem  (Chap. 
II,  Par.  114). 

Lay  the  right  side  of  the  lace  on  the  right  side  of  the  circular  piece 
of  cloth  and  overhand  the  lace  on  the  edge  of  the  hem  (Chap.  II, 
Par.  112).  To  keep  the  lace  from  drawing  around  the  outside  edge, 
full  it  on  slightly  as  you  sew.  Join  the  edges  of  the  lace  (Chap.  11, 
Par.  148). 

PUTTING  IN  THE  CASING  FOR  THE  ELASTIC. 

This  casing  may  be  made  by  using  the  commercial  bias  tape, 
about  %"  wide,  or  bias  strips  may  be  cut  (%"  wide)  according  to 
directions  in  Chap.  II,  Par.  143.  If  two  or  more  strips  are  necessary, 
join  them  (Chap.  II,  Par.  144),  then  turn  under  the  raw  edges,  making 
a  strip  about  %"  wide  when  completed.  The  turned  edges  may  be 
pressed  with  an  iron,  creased  firmly,  or  basted  to  keep  them  folded. 
To  allow  the  edge  of  the  cap  to  extend  beyond  the  casing,  baste  the 
outside  edge  of  the  tape  about  I1A"  inside  the  edge  of  the  hem.  Be 
careful  to  keep  the  spacing  even  all  the  way  around,  also  stretch  the 
edge  slightly  to  make  the  tape  lie  smoothly  when  the  inner  edge  is 
basted  in  place.  A  small  piece  of  cardboard  cut  about  one-half  inch 
wide  and  l1/^'  long  will  serve  as  an  excellent  guide  in  keeping  the 
tape  even  with  the  edge  of  the  cap. 

When  you  have  basted  the  outer  edge  of  the  tape  all  the  way 
around  the  circle,  join  the  ends;  baste  the  inner  edge  in  place,  keep- 
ing the  tape  smooth.  Sew  both  edges  of  the  tape  in  place  with  hem- 


80 

ming  stitches  (Chap.  II,  Par.  114),  or  stitch  them  on  the  sewing  ma- 
chine (Chap.  II,  Par.  164),  leaving  a  space  of  about  1/2"  unsewed  on 
the  inner  edge  through  which  to  insert  the  elastic.  Measure  around 
your  head  and  cut  the  elastic  for  your  cap  about  two  inches  longer. 
With  a  bodkin,  or  hairpin,  run  the  elastic  through  the  casing,  allow- 
ing both  ends  to  extend  outside  the  half-inch  opening.  Before  fas- 
tening the  ends  tie  them  loosely;  place  the  cap  on  the  head;  adjust 
it  until  it  fits  nicely,  then  cut  the  elastic  to  the  proper  size;  lap  the 
two  pieces  about  1/4"  and  sew  them  together  firmly.  Slip  the  joined 
ends  inside  the  casing. 

As  the  elastic  is  usually  removed  when  the  cap  is  washed,  it  is 
advisable  to  leave  the  opening  in  the  edge  of  the  casing  unsewed. 
You  may  prefer  to  tie  the  elastic  in  a  neat  knot  close  to  the  opening 
in  the  casing,  as  it  may  then  be  removed  simply  by  untying  the  knot. 
Adjust  the  gathers  evenly  on  the  elastic. 


81 


1ltMt 


SILVER  CASE 

MATERIALS. 
Outing  flannel  (Chap. 

I,  Par.  30)  or 
Felt    (Chap.    I,    Par. 

58)   or 
Canton     Flannel 

(Chap.  1,  Par.  7). 

V2    yard    flannel    or 

felt. 
%   yard    of  tape   to 

match  material. 
Cotton  or  silk  thread 

to  match. 
Needle  to  correspond 

with  the  thread. 
Embroidery  cotton. 
Embroidery    needle 

to  correspond. 


INTRODUCTORY  STATEMENT. 

There  is  nothing  which  adds  to  the  attractiveness  of  the  table 
more  than  well  kept  silverware.  Silver  rapidly  loses  its  polish  if  it 
becomes  scratched.  Even  a  thorough  cleaning  with  silver  polish  will 
not  restore  the  characteristic  luster  of  new  silver  after  it  becomes 
marred  or  scratched.  One  piece  of  silver  rubbing  on  another  scratches 
it  and  thus  both  pieces  are  damaged.  Knives,  forks,  spoons  and 
other  small  silver  may  be  kept  looking  bright  and  new  much  longer 
if  each  piece  is  kept  separate  from  the  others.  For  this  reason,  a 
case  made  with  a  little  pocket  for  each  piece  of  silver  will  be  found 
very  desirable. 

The  silver  should  be  thoroughly  dried  before  placing  it  in  the 
case.  The  case  should  be  made  of  soft  material,  like  flannel,  outing 
flannel,  or  felt.  Very  satisfactory  cases  can  be  purchased,  but  they 
can  also  be  very  easily  made,  at  much  less  cost.  Where  linen  is  used 
for  the  outside  and  embroidered,  it  should  be  lined  with  outing  flannel, 
or  some  soft  material. 


References : 

Wool  and   Manufacture   of  Wool,  W.  C.  Ford. 

A  Story  of  Table  Furnishings,  The  Cornell  Reading-Courses. 


82 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


KNIFE  CASE. 

No.  1.  This  knife  case  contains  separate  pockets  very  similar 
to  the  one  presented  in  the  lesson.  It  folds  over  and  over  and 
fastens  with  a  snap. 

FORK  CASE. 

No.  2.  The  fork  case  shown  in  No.  2  presents  a  design  which 
may  be  made  very  pretty.  The  use  of  the  embroidery  and  ribbon 
adds  much  to  make  it  attractive. 

TEASPOON  CASE. 

No.  3.  This  spoon  case  is  made  to  match  the  knife  case  shown 
in  No.  1.  This  will  suggest  the  idea  of  a  complete  set  of  silverware 
cases  to  match. 

ROLLED  SPOON  CASE. 

No.  4.  This  case  is  made  of  a  soft  flannel  material  so  it  can  be 
rolled  and  tied  with  a  tape  or  ribbon.  The  embroidered  initial  adds 
to  its  appearance. 


83 

WORKING  DIRECTIONS  FOR  SILVER  CASE 
PREPARING  MATERIAL. 

Straighten  two  adjoining  edges  of  the  cloth  (Chap.  II,  Par.  102). 
To  prepare  the  larger  piece,  measure  out  on  the  short  edge  13",  (the 
width  of  this  piece)  draw  a  thread  crosswise  and  cut  on  the  line. 
Measure  out  on  the  long  edge  20"  (the  length  of  this  piece).  Draw 
a  thread  lengthwise  and  cut  on  the  line.  The  narrow  strip  remaining 
is  to  be  used  for  the  pocket.  Straighten  the  edges  where  necessary 
and  make  it  5"  wide  by  15"  long. 

THE  BACK  PIECE. 

As  you  will  notice  in  the  illustration,  the  back  is  not  a  perfect 
oblong,  but  is  rounded  at  the  top  corners  and  shaped  off  at  one 
end  to  form  a  lap  which  is  to  be  wrapped  around  the  rest  of  the 
case  after  the  silver  has  been  rolled  up  in  it. 

TO  SHAPE  THE  END. 

First  lay  the  long  edges  of  the  material  parallel  with  the  front 
edge  of  a  table  or  desk  before  you.  Fold  the  upper  edge  of  the 
material  over  towrard  the  lower  edge,  5  inches.  Leaving  it  folded, 
measure  from  the  lower  right-hand  corner  of  the  folded  material  15 W 
toward  the  left ;  mark  this  point  with  a  pin.  From  here  cut  a  straight 
line  to  within  1  inch  of  the  folded  edge  at  right  angles  to  it.  Curving 
to  the  left,  cut  on  the  line  of  the  folded  edge  to  the  left  end  of  the 
material  (this  cuts  the  upper  left-hand  corner  out  of  the  material). 
The  part  which  extends  at  the  left  forms  the  flap  mentioned  above. 

To  round  the  corners  of  the  flap,  measure  out  from  one  corner 
21i>"  on  the  adjoining  edges;  mark  these  points  with  pins.  Cut  the 
corner  rounding  between  the  pins  the  same  as  in  the  illustration. 
Round  the  opposite  corner  in  like  manner. 

The  top  corners  of  the  back  piece  should  also  be  made  slightly 
rounding.  To  do  this,  measure  out  from  one  corner  one  inch  on  the 
adjoining  edges,  marking  these  points  with  pins;  cut  the  corner 
rounding  between  them.  Round  the  other  corner  in  like  manner. 

MAKING  THE  POCKET. 

The  pockets  into  which  the  silver  is  to  be  placed  are  formed  by 
sewing  the  smaller  piece  on  the  back  piece,  as  shown  in  the  illustra- 
tion. Baste  it  in  place  with  uneven  basting  (Chap.  II,  Par.  104). 
Sew  the  pocket  to  the  back  piece  along  the  bottom  and  right  end  with 


84 

blanket  stitches  (Chap.  II,  Par.  128),  working  them  very  close  to- 
gether; continue  around  the  remaining  raw  edges  of  the  silver  case. 
Finish  the  raw  edges  on  the  top  and  left  end  of  the  pocket  in  the 
same  manner. 

If  desired,  the  edges  may  be  finished  with  binding  ribbon  which 
should  match  the  material  of  the  silver  case.  To  put  it  on,  crease 
it  lengthwise  in  the  center,  lay  the  inside  of  the  crease  on  the  edge 
of  the  silver  case  and  with  the  edges  on  the  opposite  sides,  fasten 
it  in  place  sewing  through  both  edges  at  the  same  time.  Stitch  close 
to  the  edge  of  the  tape  on  the  right  side  with  the  sewing  machine 
(Chap.  II,  Par.  164). 

MAKING  DIVISIONS  IN  POCKET. 

This  large  pocket  is  to  be  divided  into  twelve  small  ones,  each  of 
which  is  to  hold  one  piece  of  the  silverware  as  shown  in  the  illustra- 
tion. To  make  these  pockets,  divide  it  into  spaces  1*4"  wide,  mark- 
ing each  division  with  a  line  of  basting  stitches  extending  from  the 
bottom  of  the  pocket  to  the  top.  Stitch  in  place  with  sewing  machine 
(Chap.  II,  Par.  164). 

SEWING  ON  TAPE  FOR  TIES. 

When  the  silver  case  is  folded,  it  should  have  a  tape  correspond- 
ing in  color  tied  around  it  to  keep  it  folded.  To  sew  on  the  tape,  first 
find  the  center  by  folding  the  two  ends  together;  crease  on  the  fold, 
lay  the  center  of  the  tape  on  the  center  of  the  rounded  flap,  near  the 
edge.  Sew  it  to  the  flap  with  two  parallel  rows  of  backstitching 
(Chap.  II,  Par.  107)  placed  about  1/4"  apart. 


85 


SCHOOL  BAG 

MATERIALS. 

Linen  (Chap.  I,  Par.  40). 
Chambray  (Chap.  I,  Par.  9). 

1  piece  of  chambray  or  linen 

14V2"x36". 
Thread  No.  70. 
Needle  No.  8. 
1    yard    white    cotton    tape 

about  1"  wide. 
Stencil  pattern. 
Heavy  cardboard. 
Oil  paints,  or  dyes  suitable 

for  stenciling. 


INTRODUCTORY  STATEMENT. 

Did  you  ever  find  yourself  hurrying  to  school  with  an  armful 
of  books,  and  have  one  of  them  begin  to  slip  and  the  others,  one 
by  one,  follow  its  example  until  finally  all  the  books  lay  at  your 
feet?  If  you  have  you  will  appreciate  the  advantage  of  a  school  bag. 

A  book  bag  may  be  made  like  a  button  bag,  with  a  string.  How- 
ever, a  bag  made  with  a  wide  opening  at  the  top  with  straps  which 
can  be  placed  over  the  shoulder  is  very  much  more  easily  carried. 

A  school  bag  should  be  made  of  strong  material,  like  denim,  or 
a  firm  grade  of  cambric,  chambray  or  percale.  Oilcloth  is  also  very 
desirable  as  it  is  waterproof. 

The  design  on  the  book  bag  should  be  simple.  Stenciling  makes 
a  very  attractive  decoration  for  this  sort  of  bag.  It  would  be  interest- 
ing to  design  and  paint  the  stencil  in  the  drawing  class. 


References : 

Choosing  Textiles,  Gibbs.    Illinois  Univ.  Bulletin. 

Decoration  of  the  School  and  Home,  Dillaway.     Manual  Arts  Press. 


86 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SCHOOL  BAG. 

No.  1.  This  bag  is  made  the  same  size  as  the  one  in  the  illus- 
tration. Instead  of  the  flap  at  the  top,  it  is  finished  with  an  inch 
hem.  Two  draw  strings  running  in  opposite  directions  slip  through 
rings.  It  is  trimmed  with  cretonne. 

COOKING  BAG. 

No.  2.  This  bag  is  made  similar  to  No.  1,  the  draw  strings  being 
run  through  a  hem  in  the  top  of  the  bag;  it  is  ornamented  with  em- 
broidery stitches.  It  may  be  used  to  carry  cooking  uniform  back  and 
forth  to  school. 

CORSET   BAG. 

No.  3.  This  bag  is  made  from  cretonne.  It  is  9V2"  wide  by  30" 
long.  The  draw7  strings  are  run  through  the  lower  half  of  a  hem,  the 
upper  half  being  allowed  to  extend  in  a  heading. 

PARTY  BAG. 

No.  4.  This  bag  is  made  of  heavy  silk,  lined  with  lighter  weight 
silk.  The  draw7  strings  of  ribbon  are  drawrn  through  the  lower  part 
of  the  hem,  leaving  the  upper  part  for  a  heading.  It  is  15"  wide  by 
18"  long. 


87 

WORKING  DIRECTIONS  FOR  SCHOOL  BAG 
PREPARING  MATERIAL. 

Straighten  two  adjoining  edges  of  the  material  (Chap.  II,  Par. 
102).  (If  the  material  is  30"  wide  it  may  be  torn  down  the  center 
and  two  bags  can  be  made  out  of  one  width).  Measure  out  on  the 
short  edge  14^",  the  width  of  the  bag  before  making.  Measure  out 
on  the  long  edge  36",  one  yard  (the  depth  of  the  bag  before  making). 

TO  MAKE  THE  FLAP. 

This  bag  is  to  be  made  of  one  strip  of  material,  one  end  being, 
made  pointed  to  form  a  flap,  the  other  folded  up  to  form  the  bag. 
To  make  the  flap,  find  the  center  of  the  material  by  folding  the  long, 
edges  together  evenly;  crease  on  the  fold.  Open  the  material.  Fold 
one  corner  over  to  the  central  crease;  on  the  same  end  fold  the  other 
corner  over  in  like  manner,  thus  forming  a  point  on  the  end  of  the 
material.  This  pointed  end  of  the  material  is  to  form  the  flap.  Cut 
away  the  extra  material  folded  over  and  finish  the  raw  edges  with  a. 
hem  1*4"  wide  (Chap.  II,  Par.  114),  mitering  the  corner  at  the  point 
(Chap.  II,  Par.  146). 

FORMING  THE  BAG. 

The  opposite  end  of  the  'material  is  to  be  folded  up  to  the  be- 
ginning of  the  flap  to  form  the  bag.  Before  folding  it,  finish  the 
raw  edge  with  a  hem  %"  wide  with  a  first  turning  *4"  wide.  Sew  it 
in  place  with  hemming  stitches,  or  stitch  with  the  sewing  machine. 
The  edges  along  the  sides  of  the  bag  are  to  be  finished  with  French, 
seams  (Chap.  II,  Par.  137).  To  do  this,  fold  the  hemmed  edge  up 
(having  the  right  side  out)  until  it  overlaps  the  bottom  of  the  hem 
on  the  flap  1/4".  Join  the  edges  with  French  seams  about  %"  wide. 
Remove  all  bastings  and  turn  the  bag  right  side  out. 

TO  SEW  ON  THE  TAPE. 

This  bag  is  to  be  suspended  from  the  shoulder  with  a  strip  of 
tape  about  one  inch  wide.  To  sew  on  the  tape,  first  turn  under  the 
raw  edge  at  each  end  about  *4",  allowing  one  end  to  overlap  the 
back  of  the  bag  Mz"  on  one  upper  corner;  baste  it  in  place,  being 
careful  to  sew  through  the  back  of  the  bag  only.  Place  the  other 
end  of  the  tape  in  the  same  position  on  the  opposite  corner  of  the 
bag,  as  shown  in  the  illustration,  and  baste  in  place.  Fasten  each 
end  securely  to  the  bag  with  hemming  stitches  (Chap.  II,  Par.  114),. 
sewing  around  the  two  edges,  across  the  bottom  and  along  the  place 
where  it  crosses  the  edge  of  the  bag. 


88 

THE  DESIGN. 

This  bag  is  decorated  with  a  stencil  design.  To  make  a  stencil 
design,  proceed  as  follows:  Make  your  own  design,  or  use  a  com- 
mercial pattern.  When  you  have  decided  on  the  design,  transfer  it 
to  stencil  board,  bristol  board,  or  very  heavy  paper.  To  cut  out  the 
design,  place  the  material  on  which  you  have  transferred  your  de- 
sign over  a  piece  of  glass,  and  with  a  sharp  knife  cut  it  out  in  very 
clean-cut  lines. 

To  stencil  the  design  onto  the  bag,  open  the  flap,  place  a  blotter 
inside  the  bag  and  fasten  the  design  over  the  bag  firmly  in  the  posi- 
tion desired.  Use  a  brush  with  short  bristles  and  artist's  oil  mixed 
with  turpentine,  or  Easy  Dye  dissolved  in  water  (Your  teacher  should 
help  you  to  select  suitable  colors  for  your  design).  As  the  paint  is 
likely  to  spread  under  the  pattern,  remove  the  excess  from  the  brush 
each  time  before  applying  it  to  the  stencil  by  rubbing  it  over  a  piece 
of  waste  cloth.  Apply  the  paint  with  a  daubing  rather  than  a  brush- 
ing motion.  There  should  be  only  sufficient  paint  left  in  the  brush 
to  color  the  stencil.  Oil  crayons  may  be  used  instead  of  the  paints 
or  dyes  if  the  design  on  the  bag  is  pressed  with  a  hot  iron  to  set  the 
colors. 


89 


BROOM  COVER 

MATERIALS. 

Canton     Flannel     (Chap.     I, 
Par.   7). 

l/2  yard  canton  flannel. 

2  yards  cotton  tape  Vfe"  wide. 

Colored    embroidery    cotton 
(if  desired). 

Embroidery    needle    to    cor- 
respond. 

White  thread  No.  60. 
Needle  No.  7. 


INTRODUCTORY  STATEMENT. 

The  day  of  carpets  tacked  to  the  floor  is  rapidly  passing,  and" 
rugs  that  can  be  laid  loose  on  the  hardwood  or  painted  floors  have 
almost  entirely  taken  their  place.  The  exposed  parts  of  the  floor 
must  be  dusted  frequently  with  a  dry  mop. 

There  are  many  dust  mops  on  the  market  which  are  more  or 
less  expensive,  many  of  which  are  very  satisfactory.  A  simple  sub- 
stitute for  these,  however,  is  the  broom  cover,  which  can  be  placed 
over  the  broom  while  sweeping  or  dusting  the  hardwood  floor  and 
can  also  be  easily  removed  wrhen  it  needs  to  be  washed.  The  covered 
broom  may  be  used  to  sweep  the  walls  or  to  dust  high  places.  The 
cover  may  be  moistened  with  furniture  polish  to  prevent  the  dust 
from  flying  when  used  only  on  the  floor. 

Any  mop  or  polishing  cloth  which  has  been  moistened  with  oil 
should  be  singled  out  and  hung  in  a  cool  place.  If  left  in  a  wad 
there  is  danger  of  its  taking  fire. 


References : 

Rules  for  Cleaning,  The  Cornell  Reading-Courses. 

Attic    Dust    and    Treasures,    The    Cornell    Reading-Courses- 


90 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


DUST  CLOTH. 

No.  1.  This  is  a  plain  simple  dust  cloth  made  by  sewing  together 
the  tops  of  discarded  stockings;  it  has  the  advantage  of  picking  up 
the  dust  rather  than  scattering  it. 


BROOM  COVER. 

No.  2.  A  broom  cover  made  of  a  large  straight  piece  of  cloth  with 
rings  and  a  draw  string  will  be  found  convenient  for  dusting  high 
places. 

BROOM  COVER  OF  CARPET. 

No.  3.  An  old  piece  of  soft  wroolen  carpet  sewed  into  a  bag  and 
supplied  \vith  a  draw  string  to  fasten  it  over  a  broom,  is  very  valuable 
in  polishing  \vaxed  floors. 

MOP  CLOTH. 

No.  4.  Several  strips  of  canton  flannel  hemmed  and  stitched 
together  in  the  middle  will  furnish  a  serviceable  mop  cloth. 


91 

WORKING  DIRECTIONS  FOR  BROOM  COVER 

PREPARING  MATERIAL. 
Straighten  the  two  long  edges  of  the  material  (Chap.  II,  Par.  102). 

MAKING  THE  BAG. 

This  broom  cover  is  to  be  used  for  hard  service  and  it  should 
not  have  a  great  deal  of  fine  work  put  on  it,  but,  even  though  it  is 
a  simple  problem,  each  process  should  be  done  as  perfectly  as  pos- 
sible. This  cover,  which  is  simply  a  bag,  is  to  be  joined  by  sewing 
the  two  selvage  edges  in  a  seam,  thus  making  a  seam  along  one  edge 
of  the  bag  and  a  fold  on  the  other.  Lay  the  two  selvage  edges  to- 
gether with  the  smooth  surface  of  the  material  inside  and  the  upper 
and  lower  edges  even.  With  uneven  basting  (Chap.  II,  Par.  104) 
baste  the  two  selvage  edges  together  with  a  1A"  seam,  continuing 
around  the  bottom  edge.  Stitch  just  inside  of  the  bastings  with  the 
sewing  machine  (Chap.  II,  Par.  164),  or  sew  by  hand  with  the  back- 
stitch (Chap.  II,  Par.  107).  Remove  the  bastings  and  if  desired, 
overcast  (Chap.  II,  Par.  113)  the  raw  edges  011  the  bottom  of  the  bag. 
Turn  the  bag  right  side  out. 

PUTTING  IN  THE  HEM. 

A  hem  1"  wide  finishes  the  raw  edge  at  the  top.  With  a  quarter 
inch  first  turning,  fold,  baste  with  even  basting  (Chap.  II,  Par.  103) 
and  stitch  the  hem  in  place  on  the  sewing  machine,  stitching  very 
close  to  the  edge,  or  hem  neatly  with  hemming  stitches  (Chap.  II, 
Par.  114),  or  catch  stitch  (Chap.  II,  Par.  120)  in  place  on  the  right  side, 

TO  PUT  IN  THE  DRAW  STRING. 

In  the  center  of  the  hems  make  an  opening  about  one-halt 
inch  long  in  the  seam  which  crosses  it.  On  the  opposite  side  make 
a  crossvdse  cut  in  the  center  of  the  hem  the  same  length  as  the  first 
one.  To  keep  these  openings  from  raveling,  work  them  around  the 
edges  with  the  buttonhole  stitch  (Chap.  II,  Par.  136).  Cut  the  tape 
in  two  pieces,  each  one  yard  long.  With  a  tape  needle  or  hairpin 
run  one  piece  of  tape  through  a  buttonhole  entirely  around  the  hem 
of  the  bag,  letting  one  end  remain  outside  and  the  other  come  through 
the  buttonhole  again.  Join  these  two  ends  with  a  felled  seam  (Chap.  II, 
Par.  138).  Run  the  other  tape  entirely  around  the  bag  in  the  same 
manner,  drawing  it  through  the  opposite  buttonhole.  Fasten  the  two 
ends  of  tape  which  hang  from  this  buttonhole  with  the  felled  seam. 
Close  the  cover  by  drawing  the  ends  of  the  tape  in  opposite  directions. 


92 

THE  DESIGN. 

For  ordinary  purposes,  it  is  unnecessary  to  do  any  embroidery 
Avork  on  a  broom  cover.  A  design  was  worked  011  the  broom  cover 
in  this  lesson  merely  to  give  a  better  idea  in  the  picture.  If  you  ex- 
pect to  exhibit  the  broom  cover  which  you  have  made  in  class,  you 
will  probably  wish  to  work  a  similar  design  on  yours. 

The  design  may  be  written  on  a  piece  of  paper  and  transferred 
to  the  broom  cover  writh  carbon  paper  by  placing  the  carbon  paper 
carbon  side  down  on  the  bag,  and  pinning  the  design  over  it,  then 
tracing  around  it  with  a  pencil.  It  would  be  advisable  to  use  a  strip 
of  carbon  paper  a  trifle  wider  than  the  letters  you  have  made,  and 
move  it  as  you  transfer  each  line.  When  a  large  sheet  of  carbon 
paper  is  used,  the  carbon  is  likely  to  rub  off  in  places  and  soil  your 
work. 

Work  the  design  with  coarse  embroidery  cotton  in  any  color 
desired  with  the  outline  etching  stitch  (Chap.  II,  Par  125),  or  chain 
stitch  (Chap.  II,  Par.  126).  You  may  prefer  simply  to  make  your 
initial  in  the  manner  already  described,  and  work  it  with  the  outline 
.etching  stitch,  chain  stitch  or  satin  stitch  (Chap.  II,  Par.  131). 


93 


CROCHETED 
TURBAN 

MATERIALS. 

5  skeins  of  Saxony  yarn  the 
color  desired. 

1  bone  crochet  hook  to  cor- 
respond with  yarn. 

2  large  wooden  button  molds. 
2    rubber    bands,    or    short 

pieces  of  heavy  string. 


INTRODUCTORY  STATEMENT. 

When  the  winds  of  winter  begin  to  whistle  around  the  corners 
and  through  the  tree  tops,  the  schoolgirl,  as  she  sallies  forth,  one 
hand  holding  her  hat  tightly,  the  other  filled  with  books,  usually 
longs  for  some  sort  of  close  fitting  head-covering  which  will 
protect  her  ears  from  the  cold.  It  is  a  great  satisfaction  to  the  aver- 
age girl  to  be  able  to  crochet  a  becoming  cap  for  herself.  The  soft 
woolen  yarns  adapt  themselves  very  nicely  to  this  work  and  even 
though  a  girl  may  have  had  but  little  experience  in  crocheting,  it  is 
quite  possible  for  her  to  crochet  a  cap. 

The  cap  shown  in  this  lesson,  when  unbuttoned,  is  simply  a  long, 
flat  strip  of  crocheting.  As  it  is  almost  impossible  to  remove  the 
ordinary  toboggan  cap  without*  disarranging  the  hair,  this  cap  will 
prove  very  much  more  satisfactory  because  it  can  be  removed  by 
unbuttoning  the  ends. 


References: 


Woolen  and  Worsted  Yarn  Preparation,  Cyclo.  of  Textile  Work. 
Columbia  Book  of  the  Use  of  Yarns,  Wm.  H.  Hor^tman  Co.,  Philadelphia. 


94 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


TOBOGGAN  CAP. 

No.  1.  This  cap  is  crocheted  of  yarn.  Beginning  with  a  ring  of 
stitches  in  the  center,  each  succeeding  row  is  increased  until  the  cap 
is  the  size  desired  for  the  head,  then  it  is  crocheted  straight  around 
several  inches  to  form  the  border. 

CROCHETED  CAP. 

No.  2.  This  cap  is  made  of  wool  yarn  crocheted  with  any 
stitch  desired,  in  a  long  strip.  The  strip  is  folded  and  joined  on  the 
edges  with  slip  stitches.  Crocheted  buttons  fasten  down  the  corners. 

CROCHETED  BREAKFAST  CAP. 

No.  3.  A  band  of  filet  crocheting  forms  the  brim,  and  squares 
of  chain  stitches  form  the  crown  of  this  cap.  It  is  lined  with  silk; 
the  beading  at  the  edge  is  interlaced  with  ribbon  to  match. 

LACE  BREAKFAST  CAP. 

No.  4.  The  crown  of  this  cap  is  made  from  all-over  lace;  lace 
edging  about  2"  wide  forms  the  ruffle  on  the  edge.  The  ruffle  and 
crown  are  joined  with  lace  beading  interlaced  with  ribbon;  the  crown 
is  lined  with  China  silk. 


95 

WORKING  DIRECTIONS  FOR  CROCHETED  TURBAN 

This  cap  is  made  of  a  strip  of  crocheting  15"  long  by  18"  wide, 
as  shown  in  the  illustration. 


CROCHETING  THE  CROWN  PIECE. 

To  make  the  crown  piece,  crochet  85  chain  stitches  loosely  (Chap. 
II,  Par.  155).  This  should  make  a  chain  15"  long.  Increase  or  de- 
crease the  number  of  stitches  if  necessary.  On  this  row  of  stitches 
you  are  to  make  a  rowr  of  stitches  resembling  stars.  To  do  this,  turn 
over  wrork,  skip  first  ch.  st.  draw  a  loop  (1)  through  each  of  the 
next  4  ch.  sts.,  then  draw  a  1  through  the  5  loops  on  the  hook  all  at 
one  time;  to  complete  first  star  ch.  st.  one.  To  make  second  star, 
draw  a  1  through  the  eye  of  the  star  just  made;  a  1  through  back  of 
last  1  of  same  star,  then  one  1  through  each  of  the  next  2  ch.  sts. 
Finish  the  same  as  first  star;  continue  making  these  stars  to  end  of  row. 

To  make  the  second  row,  which  is  to  be  the  same  as  the  first 
one,  turn  the  work  over;  ch.  st.  3,  take  up  twro  Is  on  this  ch.,  one  1  in 
?\e  of  star  below,  one  1  in  the  back  of  upper  1  of  same  star;  finish  star 
as  usual.  Take  up  one  1  through  eye  of  star  just  finished;  one  1 
through  back  of  last  1  of  same  star,  one  1  through  eye  of  next  star 
below,  and  one  1  through  back  of  upper  1  of  same  star;  finish  star 
as  usual.  Continue  to  end  of  rowr. 

Continue  making  each  succeeding  row  like  second  row  until  the 
work  is  8y2"  wide.  On  the  next,  or  center  rowr  of  crowrn  piece,  you 
are  to  begin  to  divide  the  lower  half  in  two  pieces.  To  do  this  make 
star  stitches  half  the  length  of  crowrn  piece  (about  20  stars),  then 


96 

continue  with  ch.  sts.  (about  45)  the  remaining  length  of  the  strip; 
turn  and  work  stars  upon  the  ch.;  continue  to  end  of  row.  Continue 
the  work  as  before  until  the  second  half  of  crown  piece  is  8^/2" 
wide.  Fasten  the  thread  by  breaking  the  yarn  and  pulling  end  of 
last  st.  made,  thus  tying  knot.  A  beaded  edge  may  be  made  on  the 
two  long  edges  as  follows:  Begin  by  making  3  ch.  sts.,  draw  a  1 
through  first  st.,  and  a  second  1  through  the  next  st.  on  the  same  ch. 
Skip  2  sts.  on  the  edge  of  the  st.  below,  draw  the  yarn  through 
edge  of  third  st.,  then  draw  a  1  through  the  5  Is.  on  the  hook,  all 
at  once.  Continue  to  end  of  row;  fasten  thread. 

FRONT  BAND. 

This  is  to  be  made  separate  and  fastened  to  the  end  of  crown 
piece.  To  make  it,  crochet  a  ch.  of  sts.  lO1/^"  long;  turn  and  make 
a  double  crochet  (d  c)  in  each  ch.  st.  The  model  has  57  d  cs  (there 
should  be  an  uneven  number  of  sts).  To  make  a  second  row,  turn 
work  over  and  return,  making  a  d  c  in  front  thread  of  first  st.,  then 
a  d  c  in  back  thread  of  next  st.,  continuing  to  end  of  row.  Continue 
crocheting  back  and  forth  the  same  as  you  did  in  this  rowr  until  the 
work  is  from  one  to  four  inches  deep,  depending  on  the  width  you 
dfcsire  the  band. 

To  round  the  ends  of  the  band,  in  the  next  row  crochet  d  cs  to 
within  10  sts.  of  end  of  rowr;  fasten  in  edge  of  next  d  c  with  a  slip 
stitch  (si  st),  (Chap.  II,  Par.  156),  return  and  d  c  to  writhin  10  stitches 
of  end  of  this  row,  fasten  last  d  c  wath  si  st ;  be  careful  to  keep  the  pat- 
tern even  when  working  over  the  ends  of  short  rows.  Make  one  row 
of  d  cs  entirely  across,  then  a  final  beaded  edge  similar  to  one  on 
edges  of  crown  piece. 

To  set  band  on  crown  piece,  d  c  closely  across  the  end  of  the 
crown  piece,  skipping  sts  on  the  edge  sufficiently  to  gather  it  into 
a  lOVfe"  space  (the  length  of  the  band).  Join  gathered  end  of  crown 
piece  to  straight  edge  of  band  with  si  sts.  Turn  band  double  and 
si  st  open  ends  together. 

FINISHING  THE  ENDS  OF  CROWN  PIECE. 

Lay  each  end  in  pleats  to  a  space  of  2"  or  less;  work  across  the 
pleats  with  two  rows  of  tight  si  sts.  Cover  two  elastic  bands,  or 
heavy  strings  tied  in  loops  large  enough  to  slip  over  the  buttons 
with  d  cs  and  sew  to  the  pleated  ends. 

To  cover  the  button  molds,  ch  3,  join  in  a  ring  (r),  work  8  d  cs 
in  the  r;  continue  to  work  round  and  round  without  joining  rows. 
The  second  row7  is  made  larger  by  placing  2  d  cs  placed  in  every  third 
st.  Continue  increasing  enough  to  keep  the  work  flat  until  it  is  same 
size  as  mold,  then  work  one  row  plain.  Make  next  round,  skipping 
every  other  st.  Slip  in  mold  and  work  3  or  4  more  sts,  skipping 
every  other  st  to  make  it  narrower.  Sew  in  place  at  ends  of  band. 


97 


DARNED  TOWEL 

MATERIALS. 

Huckaback  Toweling  (Chap. 
I,  Pars.  20  and  47). 

1%  yards  huckaback. 

San  silk,  or  mercerized  em- 
broidery cotton  in  two 
shades. 

Blunt  pointed  needle  to  cor- 
respond. 


INTRODUCTORY  STATEMENT. 

Towels  are  such  a  common  household  necessity  that  one  is  not 
likely  to  get  too  many  on  hand.  While  a  plain  towel  answers  the 
purpose  for  which  it  is  needed,  most  home  keepers  enjoy  having  a 
collection  of  towels  finished  in  a  more  ornamental  fashion. 

The  two  edges  are  selvage  and  need  no  other  finish,  but  the  ends 
must  be  finished  with  a  hem,  either  plain  or  hemstitched,  embroidered 
scallops,  or  a  crocheted  edge  of  lace.  Other  decorations  for  a  towel 
may  consist  of  a  design  worked  above  the  hem  in  embroidery  stitches, 
or  set-in  strips  of  handmade  lace  insertion. 

Darning  with  colored  embroidery  cotton  under  the  loose  threads 
of  huck  toweling  is  a  very  simple  and  effective  method  of  decorating 
a  towel.  A  great  variety  of  darning  designs  can  be  worked  out  by 
using  different  colored  threads  and  weaving  them  into  the  huck  in 
different  patterns. 

The  towel  in  this  lesson  shows  a  simple  design  darned  in  the 
huckaback  in  two  shades  of  color,  forming  simple  borders  and  small 
diamonds  across  the  ends  of  the  'towel.  It  would  be  interesting  to 
plan  and  work  a  design  of  your  own. 


References : 

Manufacture   of   Linen,   Great   Industries    of   U.   S. 
Huckaback,  Textile  Design,  Woodhouse   &   Milne. 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


DARNED  TOWEL. 

No.  1.  In  this  towel,  made  of  huckaback,  a  design  is  darned 
through  the  threads  of  the  huckaback  in  such  a  manner  as  to  produce 
a  rickrack  effect.  Notice  that  the  second  row  of  stitches  is  parallel 
with  the  first. 

DARNED  TOWEL. 

No.  2.  This  towel  is  also  made  of  huckaback  with  a  more  elab- 
orate design.  Three  colors  of  thread  are  used  but  the  design  is  easily 
worked  as  each  succeeding  row  of  darning  stitches  is  parallel  with 
the  one  preceding  it. 

DARNED  TOWEL. 

No.  3.  This  towel  offers  another  suggestion  for  a  design  that  may 
be  made  by  darning  under  the  raised  threads  of  buck  toweling. 

WATER  LILY  TOWEL. 

No.  4.  In  this  towel  a  design  is  transferred  to  the  towel;  it  is 
outlined  with  the  outline  etching  stitch,  the  satin  stitch  being  used 
in  a  few  places  on  the  petals  of  the  flower.  The  inside  of  the  design 
is  filled  with  stitches  darned  under  the  raised  threads  of  the  toweling. 


99 

WORKING  DIRECTIONS  FOR  DARNED  TOWEL 

PREPARING  MATERIAL. 

This  towel  is  to  be  finished  with  hemstitched  hems  one  inch 
wide  and  decorated  by  darning  under  the  raised  threads  of  the  huck- 
aback with  colored  thread. 

Straighten  the  raw  edges  on  the  end  of  the  towel  (Chap.  II,  Par. 
102).  On  one  end  of  the  towel  measure  in  21/4"  from  the  edge;  draw 
a  thread,  fold,  baste  with  even  basting  (Chap.  II,  Par.  103)  and  finish 
a  one-inch  hem  with  double  hemstitching,  drawing  the  remainder  of 
the  threads  and  making  the  stitches  as  directed  in  Chap.  II,  Par.  116. 
Finish  the  opposite  end  of  the  towel  in  exactly  the  same  manner. 
Overhand  (Chap.  II,  Par.  109)  the  open  ends  of  the  hems  together, 
if  desired.  Remove  basting  threads.  In  finishing  the  ends  of  the 
towel,  be  careful  to  keep  the  side  on  which  the  raised  threads  run 
lengthwise  for  the  right  side,  so  the  needle  will  slip  under  them 
easily  when  darning  in  the  design. 

THE  DESIGN. 

While  the  working  directions  in  this  lesson  are  given  for  the 
design  shown  in  the  illustration,  it  is  advisable  and  will  be  found 
much  more  interesting  for  each  girl  to  plan  her  own  design  and  de- 
cide on  the  colors  to  use  in  working  it. 

The  two  rows  of  parallel  stitches  forming  the  border  of  the  de- 
sign in  the  illustration  are  placed  l/±"  above  the  hemstitching.  Use 
the  dark  thread  for  the  border.  To  make  the  first  row,  insert  the 
needle  on  the  under  side  of  the  cloth,  run  it  under  two  or  three  of 
bucks  or  raised  threads  on  the  under  side  and  bring  it  through  to 
the  right  side  even  with  the  selvage  edge;  make  a  straight  row  of 
running  stitches  under  the  bucks,  or  raised  threads  of  the  toweling, 
to  the  selvage  on  the  opposite  edge.  Bring  the  thread  through  to  the 
under  side  and  fasten  it  the  same  as  in  the  beginning.  Skipping  one 
row  of  hucks,  begin  the  second  row  in  the  same  manner  as  first  and 
make  this  second  row  parallel  with  the  first  row. 

The  diamond  shaped  design  in  the  center  you  will  notice  in  the 
illustration  is  placed  parallel  with  the  border.  Use  thread  of  an- 
other shade  for  this.  To  make  this  part  of  the  design,  measure  up 
one  inch  from  the  second  row  of  parallel  stitches  forming  the  border, 
beginning  at  the  right-hand  edge;  fasten  the  thread  as  before  and 
bring  the  needle  through  to  the  right  side  of  the  material  close  to  the 
inside  of  the  selvage;  slanting  the  needle  upward,  take  3  hucks  on 
the  needle,  draw  the  thread  through,  then  slanting  the  needle  down, 


100 

take  4  hucks  on  the  needle,  slanting  it  up  take  four  more  bucks  on 
the  needle;  continue  across  the  towel  in  this  manner,  first  making 
slanting  stitches  up,  then  down.  Fasten  the  thread  at  the  opposite 
ends  as  in  the  beginning. 

To  complete  the  diamonds,  fasten  the  thread  on  the  under  side 
of  the  towel  wrhere  you  finished  the  first  row  and  bring  the  needle 
through  to  the  right  side;  take  slanting  stitches  up  and  down  as  you 
did  in  the  first  row,  making  them  cross  those  in  the  first  row  in  such 
a  way  as  to  form  little  diamonds.  Fasten  the  thread  on  the  under 
side,  as  in  the  beginning. 

To  make  the  other  two  parallel  rows  which  form  the  top  border 
of  the  design,  measure  up  one  inch  from  the  center  of  the  diamond, 
fasten  the  thread  on  the  under  side  and  make  a  straight  row  ot 
stitches  under  the  hucks  as  you  did  for  the  first  row  in  the  lower 
border;  skip  one  row  of  hucks  and  put  in  a  second  rowr  of  stitches 
in  the  same  manner.  The  other  end  of  the  towel  should  be  finished 
in  the  same  manner.  Press  the  finished  towel  carefully. 


101 

DRESSER  SCARF 


MATERIALS. 
Mull  (dotted)   (Chap.  I,  Par.  26). 

1  yard  dotted  mull,  18"  wide.  Thread  No.  70. 

1%  yard  lace  insertion  2"  wide.  Needle  No.  8. 

2^4  yards  lace  edging  about  21/4"  wide. 

INTRODUCTORY  STATEMENT. 

While  a  plain  towel  will  answer  for  a  dresser  scarf  very  satis- 
factorily, it  is  quite  customary  to  have  a  special  cover  for  the  pur- 
pose. The  dresser  scarf  may  be  made  long  enough  to  hang  over  the 
ends  of  the  dresser  a  fewr  inches,  or  may  be  made  simply  long 
enough  to  cover  the  top;  this  is  a  matter  of  taste. 

A  dresser  scarf  gives  an  opportunity  for  different  kinds  of  hand- 
work, and  though  a  very  attractive  looking  scarf  may  be  made  by 
simply  embroidering  an  initial  in  the  center,  using  nice  material 
for  the  cover  and  finishing  the  edges  with  plain  hems,  yet  many 
elaborate  designs  are  made. 

As  you  will  notice  in  the  illustration  for  this  lesson,  embroidered 
mull,  trimmed  with  lace  and  lace  insertion  along  the  front  and  two 
ends,  has  been  used.  This  makes  a  dainty  and  inexpensive  dresser  scarf. 


References : 

Household    Decoration,   The    Cornell    Reading-Courses. 

Lace  Making  and  Embroidery  in  the  Philippines,  U.  S.  Bureau  of  Education 
Bulletin   34. 


102 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


EMBROIDERED  DRESSER  SCARF. 

No.  1.  This  scarf  is  made  the  same  size  as  the  one  in  this  lesson. 
The  edges  are  finished  with  embroidered  scallops.  A  design  at  each 
end  is  embroidered  in  white. 

DRESSER  SCARF. 

No.  2.  This  dresser  scarf  is  finished  with  a  crocheted  edge.  The 
design  consists  of  running  stitches  worked  over  a  stamped  design. 

HEMSTITCHED  DRESSER  SCARF. 

No.  3.  This  dresser  scarf  is  made  of  wrhite  linen  finished  with  a 
hemstitched  hem  l1^"  wide.  The  initial  is  wrorked  with  the  satin  stitch. 

EMBROIDERED  DRESSER  SCARF. 

No.  4.  This  dresser  scarf  is  finished  on  the  edge  with  linen  lace. 
The  design  is  worked  in  colors  with  French  knots,  lazy  daisy,  outline 
and  satin  stitches. 


103 

WORKING  DIRECTIONS  FOR  DRESSER  SCARF 

PREPARING  MATERIAL. 

You  may  measure  your  own  dresser  and  make  the  dresser  scarf 
to  fit  it.  The  dresser  scarf  in  this  lesson  is  made  18"  wide  by  36" 
long,  without  the  lace.  Straighten  one  end  of  the  material  (Chap.  II, 
Par.  102).  Leave  the  selvage  for  the  back  and  measuring  from  the 
selvage  out  on  the  short  edge  18"  (the  width  of  the  material  for  the 
dresser  scarf),  draw  a  thread  lengthwise  and  cut  on  the  line.  From 
the  short  edge  measure  down  on  the  selvage  36"  (the  length),  draw 
a  thread  crosswise  and  cut  on  the  line. 

FINISHING  THE  RAW  EDGES. 

The  edges  on  the  ends  and  front  are  to  be  finished  with  a  narrow 
hem.  Fold,  baste  and  sew  in  place  with  the  machine  (Chap.  II,  Par. 
164),  or  hemming  stitch  (Chap.  II,  Par.  114).  Remove  bastings.  The 
edge  is  to  be  trimmed  with  lace,  as  shown  in  the  illustration.  The 
lace  may  be  sewed  in  place  with  the  sewing  machine,  or  overhanded 
on  (Chap.  II,  Par.  112).  If  it  is  to  be  sewed  on  with  the  sewing  ma- 
chine, begin  with  the  selvage  edge,  letting  y±"  of  the  lace  extend  for 
a  hem;  lay  the  wrong  side  of  the  lace  on  the  right  side  of  the  hem, 
letting  it  overlap  about  &  of  an  inch.  Baste  with  small,  even  bast- 
ing (Chap.  II,  Par.  103),  mitering  it  carefully  at  each  corner  (Chap. 
II,  Par.  147);  leave  1/4"  extending  at  the  other  end  for  finishing.  Sew 
the  lace  in  place  with  the  sewing  machine.  If  the  lace  is  to  be  over- 
handed  on  the  dresser  scarf,  follow  directions  in  Chap.  II,  Par.  112, 
mitering  the  corners  as  directed  above. 

TO  SET  IN  THE  INSERTION. 

As  the  insertion  is  to  be  placed  2"  from  the  outside  edge  of  the  hem, 
make  a  gauge  of  cardboard  2"  long  and  %"  wide  to  use  as  a  guide 
in  setting  the  insertion  on  evenly.  Beginning  at  the  selvage  edge 
and  allowing  *4"  of  the  insertion  to  extend  for  finishing,  lay  it  on 
smoothly,  keeping  it  an  even  distance  from  the  edge  of  the  hem.  (Test 
with  the  gauge).  Baste  the  insertion  in  place,  pin  along  its  outside 
edge;  as  you  turn  each  corner,  fold  the  insertion  for  mitering  (Chap. 
II,  Par.  147),  continuing  to  pin  and  baste  it  even  with  the  front  edge 
until  the  lace  is  on  entirely  around  the  scarf;  leave  W  extending 
beyond  the  selvage  for  finishing.  Baste  it  down  carefully  on  the 
other  edge.  Stitch  in  place  with  the  sewing  machine,  very  close  to  the 
edge. 


104 

Turn  the  material  to  the  wrong  side  and  cut  out  the  material 
under  the  insertion,  letting  about  %"  along  each  edge  extend,  for  fin- 
ishing. Finish  mitering  the  corners,  which  you  have  already  folded, 
and  finish  the  raw  edges  on  the  ends  of  the  insertion  with  a  narrow 
hem,  making  it  even  with  the  selvage  at  the  back  of  the  dresser  scarf. 
On  each  edge  of  the  insertion,  fold  the  extra  material  back  away 
from  the  insertion  and  turn  under  the  raw  edges,  forming  a  narrow 
hem  on  the  material  along  each  edge  of  the  insertion.  Baste,  and 
stitch  the  edge  of  the  hems  in  place  on  the  sewing  machine  (Chap.  II, 
Par.  164)  or  sew  in  place  with  hemming  stitches  (Chap.  II,  Par.  114). 
Remove  all  basting  threads  and  press  carefully. 

A  mull  with  large  embroidered  bowknots  in  it  is  made  very 
attractive  by  working  the  bowknots  with  the  satin  stitch  (Chap.  II, 
Par.  131)  in  a  delicate  color.  It  is  not  advisable  to  work  over  the 
designs  in  mull  unless  they  are  large. 


105 


KITCHEN 
APRON 

MATERIALS. 

Percale  (Chap.  I,  Par.  31)  or, 
Gingham  (Chap. I, Par.  19)  or, 
Chambray,  ( Chap.  I,  Par.  9 )  or, 
Calico  (Chap.  I,  Par.  5). 

1  yard  36"  wash  goods,  or  2 
yards  in  a  narrower  width. 

ll/2  yards  1/2"  cotton  tape. 
Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

Aprons  are  an  absolute  necessity  to  anyone  who  is  doing  house- 
work. Even  the  schoolgirl  who  may  merely  assist  with  some  of 
the  lighter  duties  will  find  it  very  convenient  to  have  an  apron  or 
two  to  slip  on  over  her  school  dress  while  at  work.  An  apron  is 
more  easily  made,  also  much  more  easily  laundered  than  a  dress, 
and  will  therefore  save  considerable  work. 

It  is  practical  to  wear  an  apron  of  dark  material  when  scrub- 
bing or  cleaning,  or  doing  any  sort  of  work  which  will  soil  it.  A 
light  colored  apron  looks  more  attractive  for  cleaner  work.  Kitchen 
aprons  are  usually  made  of  calico,  percale,  gingham  or  chambray; 
such  aprons  should  be  made  large  enough  to  protect  the  dress. 

The  apron  in  this  lesson,  though  somewhat  unusual  in  style,  is 
very  easily  made,  covers  the  dress  well  and  is  easily  put  on  and 
taken  off;  it  therefore  makes  a  very  satisfactory  kitchen  apron. 


References : 

Process  of  Calico  Printing,  Great  Industries  of  U.  S. 
Household   Textiles,    Gibbs.     Whitcomb   &    Barrows. 


106 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


THREE  PIECE  APRON. 

No.  1.  This  apron  is  made  from  a  commercial  pattern.  The 
straps  in  the  picture  are  buttoned  over  without  crossing  to  show  the 
shape  of  the  apron.  When  worn  they  are  crossed  in  the  back.  This 
makes  a  very  comfortable  apron,  as  it  cannot  slip  off  the  shoulders, 
is  easily  put  on,  may  be  opened  flat  for  ironing,  and  covers  the  dress 
almost  completely. 

BIB  APRON. 

No.  2.  This  apron  is  more  elaborate  than  No.  1.  It  should  be 
made  of  a  light  gingham  or  percale  and  trimmed  with  bands  of  bias 
material  of  a  contrasting  color.  It  may  be  made  from  a  commercial 
pattern,  or  by  using  three  gores  out  of  a  five  gored  skirt  pattern, 
pointing  them  at  the  bottom  as  in  the  illustration.  A  bib  similar  to 
this  one  may  be  cut  freehand  and  pinned  to  the  front  gore  of  the 
pattern.  The  straps  crossing  in  the  back  of  this  apron  keep  the  bib 
from  slipping  off  the  shoulders;  they  are  buttoned  onto  the  band. 


107 
WORKING  DIRECTIONS  FOR  KITCHEN  APRON 

PREPARING  MATERIAL. 

If  the  material  is  a  yard  wide  and  the  proper  amount  has  been 
torn  off,  simply  straighten  it  (Chap.  II,  Par.  101).  If  the  edges  have 
been  cut,  even  them  (Chap.  II,  Par.  102).  If  the  material  is  less  than 
a  yard  wide,  measure  and  tear  off  two  pieces,  each  one  yard  long. 
As  the  material  should  be  one  yard  (36"  wide)  pin  the  selvages 
of  these  two  pieces  together  and  tear  off  enough  from  one  strip  to 
leave  a  piece  one  yard  wide  (where  the  narrower  material  is  used 
it  is  advisable  to  make  two  aprons  at  one  time  so  the  other  half 
width  will  not  be  wasted). 

SEWING  ON  THE  EXTRA  WIDTH. 

Making  the  ends  even,  lay  the  sides  and  the  two  selvage  edges 
of  the  two  pieces  of  material  together;  baste  and  stitch  with  }4" 
seam  (on  sewing  machine).  (The  selvages  are  likely  to  pucker  when 
laundered,  but  this  difficulty  may  be  overcome  by  making  three  or 
four  very  short,  crosswise  cuts  on  the  selvages). 

SHAPING  TOP  OF  APRON. 

You  will  notice  in  the  illustration  that  this  apron  is  simply  a 
square  of  cloth  turned  cornerwise,  with  the  point  cut  off  at  the  top. 
To  cut  off  this  point,  measure  from  the  top  corner  out  on  each  ad- 
joining edge  about  10".  Mark  on  the  edge  with  pins  and  turn  back 
the  corner  of  the  cloth  until  a  straight  fold  is  formed  between  the 
two  pins;  crease  sharply.  Cut  off  the  point,  using  the  crease  as  a 
guide. 

Finish  the  edges  of  the  apron  by  trimming  off  the  selvage,  or 
selvages,  and  turn  a  *4"  hem  with  a  narrow  first  turning  all  the 
way  around  them;  crease  it  firmly  in  place.  Baste  with  even  basting 
(Chap.  II,  Par.  103).  The  edges  are  trimmed  with  rickrack  braid 
which  should  be  basted  on  before  the  hem  is  sewed  in  place.  To  put 
on  the  rickrack,  lay  it  on  the  hem  on  the  wrong  side  of  the  apron  so 
the  points  will  extend  over  the  edge  and  show  on  the  right  side.  Baste 
it  to  the  edge  of  the  apron  with  short,  even  basting  stitches  (be  care- 
ful to  turn  the  corners  neatly,  mitering  the  rickrack  if  necessary, 
Chap.  II,  Par.  146).  Stitch  through  the  rickrack  close  to  the  edge  of 
the  apron  with  the  sewing  machine  (Chap.  II,  Par.  164),  then  stitch 
through  it  again  along  the  edge  of  the  hem. 


108 

SEWING  ON  TAPE. 

Before  sewing  on  the  tape,  hold  the  apron  up  to  you  as  it  should 
be  when  completed  and  adjust  the  tape,  placing  it  in  the  proper 
position  on  the  top  edge  of  the  apron  and  making  it  the  proper  length. 
Pin  it  in  place.  To  sew  on  the  tape,  turn  under  the  raw  edges,  allow 
it  to  lap  about  half  an  inch  on  the  under  side  of  the  apron  and  sew 
around  the  overlapping  edges  with  hemming  stitches.  Adjust  the 
tapes  on  the  back  of  the  apron  in  the  same  manner  and  sew  them 
in  place. 

THE  POCKET. 

Cut  a  5"  square  out  of  the  material,  taken  from  the  top  of  the 
apron.  Make  a  *4"  hem  across  one  edge  for  the  top  and  finish  with 
rickrack;  round  the  corners  of  the  opposite  edge  for  the  bottom. 
Turn  under  the  raw  edges  1/4"  around  the  sides  and  bottom.  Baste 
to  the  apron  in  a  convenient  position  and  stitch  around  the  sides  and 
bottom  with  two  parallel  rows  of  machine  stitching  (Chap.  II,  Par. 
164),  or  one  row  of  backstitching  (Chap.  II,  Par.  107). 


109 
REVIEW  QUESTIONS  AND  PROBLEMS. 

1.  What  is  the  purpose  of  the  binding  on  the  filing  pocket? 

2.  What  methods  would  you  suggest  for  hanging  a  filing  pocket? 

3.  What  plan  do  you  like  best  for  making  sleevelets  to  be  used 
in  the  kitchen?     Why? 

4.  Name  and  explain  all  the  stitches  used  in  making  the  cap. 

5.  What  sort  of  material  would  be  suitable  for  a'dust  cap?  Why? 

6.  Why  is  it  better  to  keep  silverware  in  a  case  rather  than  loose 
in  a  drawer? 

7.  What  sort  of  material  is  most  suitable  for  a  silverware  case? 
What  is  it  worth  per  yard? 

8.  What  points  should  be  considered  in  selecting  material  and 
designing  a  school  bag? 

9.  What  kind  of  cloth  is  most  suitable  for  dusting  purposes? 
If  you  have  used  oil  or  furniture  polish  on  the  cloth  how  should  the 
cloth  be  treated  after  using  it? 

10.  Why  is  a  coarsely  woven  material  most  suitable  for  a  towel? 

11.  What  is  the  price  per  yard  of  good  towel  crash? 

12.  Why  is  the  larger  roller  towel  less  desirable  than  the  small 
hand  towels? 

13.  What  is  the  purpose   of  a  dresser  scarf?     What  kind   of 
material  would  you  select  for  this  purpose? 

14.  What  points  would  you  consider  in  selecting  the  color  and 
design  for  a  dresser  scarf? 

15.  What  stitches  would  you  use  in  making  a  dresser  scarf? 

16.  Why  is  an  apron  an  important  garment  about  the  house? 

17.  What  kind  of  material  is  most  suitable  for  kitchen  aprons? 

18.  Explain  the  difference  between  calico  and  gingham. 


110 

SUGGESTIONS  FOR  HOME  APPLICATION. 

In  the  spring  and  fall  before  buying  new  clothes  for  the  coming 
season  the  left-overs  should  be  gone  over  carefully.  With  a  com- 
paratively small  amount  of  work  many  of  the  old  garments  may  be 
made  wearable  thereby  effecting  a  considerable  saving  in  the  outlay 
of  money.  With  the  experience  you  should  have  had  in  sewing  after 
completing  this  section,  you  should  be  able  to  do  much  of  the  simple 
remodeling  that  may  be  necessary  on  your  own  clothes. 

After  discussing  the  matter  with  your  mother  and  studying  the 
suggestions  given  below,  perhaps  she  will  be  very  glad  to  let  you  do 
this  work,  or  at  least  assist  her. 

SUGGESTIONS  FOR  LENGTHENING  SKIRTS. 

1.  With  a  Hem. 

A  wide  hem,  if  it  is  not  worn  or  discolored  on  the  lower  edge,  may 
be  ripped  and  folded  up  again  as  far  as  necessary  to  make  the  skirt 
the  right  length.  It  should  be  basted  and  then  stitched  in  place  with 
the  sewing  machine. 

2.  With  a  Facing. 

If  the  hem  must  be  unfolded  the  full  width  to  make  the  skirt  the 
desired  length,  face  it.  This  may  be  done  by  stitching  another  piece 
of  material,  preferably  about  the  width  of  the  hem,  on  the  bottom 
edge,  turning  it  to  the  wrong  side  and  finishing  it  the  same  as  a  hem. 
This  piece  should  correspond  with  the  material  in  the  skirt;  it  may 
be  cut  on  the  bias,  or  if  the  skirt  is  gored,  a  straight  strip  may  be 
fitted  to  the  bottom  of  the  skirt.  Extra  fullness  in  the  upper  edge  of 
the  facing  may  be  pleated  in.  If  the  skirt  is  made  of  wash  material 
which  has  been  laundered,  the  strip  used  for  facing  should  be  shrunk- 
en. This  may  be  done  by  wetting  it  thoroughly  and  pressing  it  when 
partially  dry. 

3.  With  a  Set-on  Piece. 

Where  neither  of  the  above  methods  can  be  used,  a  straight  or 
ungored  skirt  may  often  be  satisfactorily  lengthened  by  setting  on 
a  piece  of  some  contrasting  material  at  the  bottom;  plaid  or  a 
striped  material  may  be  used  on  plain  goods,  or  plain  goods  set  on 
figured  material.  This  strip  should  be  cut  wide  enough  to  lengthen 
the  skirt  as  much  as  needed  and  also  provide  material  to  turn  back 
on  the  right  side  the  width  desired.  It  should  be  neatly  stitched 
in  place. 


Ill 

4.  With  Insertion  or  Lace. 

An  under  skirt  may  be  lengthened  by  cutting  it  in  two  crosswise 
and  setting  in  a  band  of  embroidery  insertion,  using  a  lapped  seam 
(Chap.  II,  Par.  139);  or  lace  insertion  may  be  used,  sewing  it  in  the 
same  as  directed  for  the  dresser  scarf  (Page  103),  except  that  in  this 
case  you  baste  the  lace  %"  over  the  raw  edge  instead  of  cutting  the 
material  out  under  it. 

5.  With  Tucks. 

If  there  are  tucks  in  the  skirt  these  may  be  ripped  and  carefully 
pressed  to  provide  the  required  length.  (It  is  better  to  pull  the  threads 
of  the  stitching  than  to  cut  them  as  there  is  great  danger  of  cutting 
holes  in  the  material  if  you  use  the  scissors  or  a  knife.) 

SUGGESTIONS  FOR  REPAIRING  HEM. 

When  the  edge  of  a  cotton  garment  is  worn  it  may  be  trimmed 
and  the  raw  edges  turned  in  and  stitched.  A  neater  way  is  to  rip 
the  hem,  fold  it  back  on  the  right  side  of  the  material,  stitch  it  in  far 
enough  from  the  edge  to  escape  the  worn  places,  then  turn  it  back 
(to  its  original  position)  and  baste  and  stitch  in  place.  This  second 
method  should  be  used  on  woolen  garments. 

SUGGESTIONS  FOR  REPAIRING  WORN  BANDS. 

Where  the  buttonholes  are  badly  torn,  or  the  material  under  the 
buttons,  hooks  or  eyes  has  been  torn  away,  it  is  well  to  rip  the  band 
back  to  a  strong  place  and  set  on  a  new  piece,  making  it  a  continua- 
tion of  the  band.  Work  new  buttonholes,  or  sew  the  necessary 
fastenings  on  the  renewed  band. 


112 


INTRODUCTION  TO  SECTION  III 

'  I  ^HE  projects  set  forth  in  this  section  are  a  little  more  advanced 
than  those  of  the  preceding  sections,  but  if  students  have  given 
careful  attention  to  the  detail  of  the  fundamental  processes  they 
will  not  find  these  lessons  difficult. 

While  the  projects  are  not  arranged  in  absolute  order  of  sequence 
of  processes,  and  while  they  may  not  present  a  constant  increase  in 
difficulty,  yet  the  order  in  which  they  occur  will  be  found  a  very 
satisfactory  way  in  which  to  take  them  up  with  the  class.  It  is  not 
the  thought  that  each  student  should  begin  at  the  first  of  the  list  of 
lessons  and  complete  every  one  in  the  section,  but  it  is  important 
that  promiscuous  selection,  prompted  merely  by  curiosity,  should 
not  be  permitted. 

The  teacher  who  understands  the  strong  points  as  well  as  the 
weaknesses  of  the  students  can  best  advise  each  one  what  lesson  she 
should  undertake  in  order  to  give  her  proper  exercise  of  the  ability 
already  acquired,  and  lead  her  into  new  principles  and  processes  in 
a  consistent  way. 

This  must  not  be  interpreted  to  mean  that  the  choice  of  the 
student  is  to  be  ignored,  in  fact  the  spirit  of  independent  thinking 
must  be  encouraged.  In  each  project  will  be  found  considerable 
latitude  for  the  exercise  and  development  of  individual  taste. 

The  paragraph  references  to  the  Supplement  are  continued  and 
should  have  as  frequent  consideration  as  is  necessary  to  insure  form- 
ation of  correct  habits  of  work. 


113 

TRAVELING  CASE 

MATERIALS. 
Cretonne  (Chap.  I,  Par.  12). 

1/2  yard  cretonne  at  least  17" 
wide. 

V2  yard  white  rubber  lining, 

same  width  (if  used). 
ll/2  yards  bias  tape  %"  wide. 
1  snap. 

Thread  No.  70. 
Needle  No.  8. 

INTRODUCTORY  STATEMENT. 

When  traveling,  time  and  worry  may  be  saved  by  having  a 
receptacle  for  all  of  your  toilet  articles  so  you  can  carry  them  with 
you  to  the  dressing  room  on  the  car,  or  easily  find  them  when  needed 
without  looking  in  the  different  corners  of  your  grip.  The  traveling 
case  which  answers  this  purpose  has  come  to  be  a  real  necessity. 

As  the  traveling  case  is  usually  subjected  to  more  or  less  strain, 
it  should  be  made  of  serviceable  material.  Cretonne  is  a  fabric 
Which  lends  itself  very  well  to  this  use.  The  traveling  case  is  often 
lined  with  white  rubber  cloth,  which  makes  it  possible  to  place  a 
damp  tooth  brush  or  wash  cloth  in  the  case  without  danger  of  in- 
juring or  wetting  other  articles  in  the  grip.  Oftentimes  the  wash 
cloth  is  kept  in  a  rubber  lined  case  by  itself. 

The  case  shown  in  this  lesson  is  very  simple  in  construction. 
However,  it  will  be  found  very  convenient,  as  it  provides  pockets  for 
the  brush  and  comb,  tooth  brush  and  wash  cloth,  with  sufficient 
room  for  other  small  articles. 


References : 

Educational  Needlecraft,   Swanson   &   Macbeth.     Man.  Arts  Press. 
Handicraft  for  Girls,  McGauflin.     Manual  Arts  Press. 


114 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


STATIONERY  CASE. 

No.  1.  This  case  is  made  of  cretonne  with  two  pockets  the 
proper  size  for  the  envelopes  and  paper.  The  edges  are  finished 
with  bias  tape. 

TRAVELING  CASE. 

No.  2.  This  traveling  case  is  made  of  cretonne.  The  pockets 
and  flaps  are  separate  pieces  sewed  on.  The  edges  are  finished  wTith 
bias  tape.  It  is  lined  with  white  rubber. 

SPOOL  CASE. 

No.  3.  This  case  is  made  of  green  undressed  kid,  cut  out  at  the 
corners  so  it  can  be  folded  up  to  form  the  oblong  case  shown  in 
the  illustration.  The  cover  is  made  separate.  The  edges  are  bound 
with  green  ribbon.  Ribbon  laced  through  holes  in  the  sides  of  the 
case  pass  through  the  spools  and  hold  them. 

SLIPPER  CASE. 

No.  4.  This  project  consists  of  two  similar  cases  made  of  cre- 
tonne; each  one  is  just  large  enough  to  hold  a  slipper.  The  edges  are 
finished  with  bias  tape. 


115 

WORKING  DIRECTIONS  FOR  TRAVELING  CASE 

PREPARING  MATERIAL. 

Straighten  two  adjoining  edges  (Chap.  II,  Par.  102).  On  the 
shorter  edge,  measure  out  IGMj",  the  width  of  the  traveling  case; 
draw  a  thread  lengthwise  and  cut  on  the  line.  On  the  longer  edge 
measure  down  18",  the  length  of  the  traveling  case  before  folding. 
Draw  a  thread  crosswise  and  cut  on  the  line. 

CUTTING  FLAP. 

This  traveling  case  is  made  from  a  strip  of  cloth,  one  end  of 
which  is  pointed  and  used  as  a  flap;  the  other  end  is  turned  up  to 
form  a  pocket.  To  make  the  end  pointed  for  the  flap,  find  the  center 
by  laying  the  two  long  edges  together;  crease  on  the  fold,  open  the 
material.  From  one  corner  measure  down  4^".  Mark  with  a  pin. 
Fold  the  cover  over  until  a  straight  fold  connects  the  end  of  the 
center  creases  and  the  point  marked  with  the  pin.  Crease  with 
thumb  nail;  open  material,  cut  on  the  line  formed  by  the  crease. 
On  the  same  end,  measure,  fold  and  trim  off  the  other  corner  in  like 
manner. 

FORMING  POCKET. 

A  traveling  case  is  more  serviceable  if  lined  with  white  rubber. 
If  the  case  is  to  be  lined,  it  should  be  done  now.  (To  do  tihis,  cut 
a  piece  of  white  rubber  cloth  or  oiled  silk  the  same  size  and  shape 
as  the  traveling  case.  Baste  it  to  the  case  on  the  edges  only,  keep- 
ing it  smooth  and  free  from  wrinkles  on  the  surface).  The  lower 
edge  is  to  be  folded  up  to  the  flap  to  form  the  pocket.  Before  fold- 
ing it,  finish  the  raw  edge  (at  the  bottom)  with  bias  tape. 

Folded  bias  tape  may  be  used,  or  bias  strips  94"  wide  may  be 
cut  and  the  edges  folded  in  to  make  them  %"  wide  (Chap.  II,  Par.143). 
To  sew  on  the  tape,  lay  the  right  side  of  the  tape  next  to  the  wrong 
side  of  the  material,  with  the  edges  even,  baste  along  the  line  of  the 
crease  with  even  basting  (Chap.  II,  Par.  103);  stitch  in  place  with 
the  sewing  machine  (Chap.  II,  Par.  164)  or  with  fine  running  stitches 
(Chap.  II,  Par.  106);  remove  the  bastings,  turn  the  other  folded  edge 
of  the  tape  over  to  the  right  side  of  the  material,  with  the  edge  as 
nearly  opposite  the  edge  of  the  other  side  as  possible;  baste  it  in 
place  with  even  basting  and  stitch  close  to  the  edge  with  the  sewing 
machine.  Remove  basting  thread.  As  the  pocket  is  to  be  6"  deep, 
fold  it  up  that  depth  (to  the  beginning  of  the  flap)  with  the  right 
side  out.  Baste  the  edges  together  with  uneven  basting  (Chap  II, 
Par.  104). 


116 

The  raw  edges  of  the  traveling  case  are  to  be  finished  with 
bias  tape  also,  fastening  the  pockets  in  place  at  the  same  time.  After 
turning  under  one  end  of  the  tape,  sew  it  on  the  raw  edge  around 
the  case  the  same  way  that  you  sewed  it  on  the  edge  of  the  pocket, 
folding  it  to  fit  around  the  corners  (it  will  not  be  necessary  to  sew 
these  folded  corners  as  they  are  too  narrow  to  require  it).  Finish 
the  other  end  of  the  bias  tape  by  turning  it  under  as  you  did  the 
first.  Remove  bastings. 

SEWING  ON  FASTENERS. 

This  traveling  case  is  held  shut  with  a  snap.  Sew  the  smaller 
part  of  the  snap  on  the  point  of  the  flap  (Chap.  II,  Par. 133)  (be  care- 
ful not  to  let  the  stitches  show  on  the  right  side).  To  find  the  place 
in  which  to  sew  the  other  part  of  the  snap,  fold  the  flap  over  the 
pocket,  close  the  lower  part  of  the  snap  onto  the  upper  part,  then 
while  holding  the  lower  part  in  its  proper  position,  pull  the  upper 
part  away  from  it;  sew  on  the  lower  part  of  the  snap,  being  careful 
not  to  sew  through  to  the  back  of  the  case. 

If  desired,  the  pocket  may  be  divided  into  sections  suitable  for 
holding  different  toilet  articles.  To  make  a  pocket  for  the  wash 
cloth,  make  a  row  of  parallel  stitching  51/4"  from  the  edge  of  the  case. 
Another  line  of  stitching  parallel  with  this,  1"  away,  will  provide  a 
pocket  for  the  tooth  brush.  The  remainder  of  the  case  may  be  used 
for  the  brush  and  comb  as  shown  in  the  illustration. 


117 

EMBROIDERED 
NAPKIN 

MATERIALS. 

Damask  Linen  (Chap.  I,  Par. 
45). 

1  table  napkin. 
White  Thread  No.  80. 
Needle  No.  9. 
Fine  embroidery  cotton. 
Padding  cotton. 
Embroidery  needle. 

INTRODUCTORY  STATEMENT. 

Fine  linen  gives  a  distinction  to  the  appearance  of  the  table  which 
can  be  obtained  in  no  other  way.  For  this  reason,  linen  has  long 
been  popular  as  the  choice  table  covering.  On  account  of  the  great 
demand  for  this  fabric  it  is  frequently  adulterated. 

To  be  able  to  select  table  linen  wisely  requires  considerable 
study  and  experience.  Cotton  is  so  cleverly  made  to  imitate  linen 
that  it  is  often  difficult  to  distinguish  its  presence  when  mixed  with 
linen.  It  shows  very  plainly,  however,  after  the  linen  is  laundered, 
as  the  ironing  gives  linen  a  fine  gloss  which  cannot  be  obtained  on 
a  piece  of  material  containing  much  cotton. 

The  double  damask  is  very  serviceable  and  with  careful  treat- 
ment, table  cloths  and  napkins  made  from  this  material  will  last  a 
number  of  years.  As  a  good  linen  gives  such  excellent  service,  it  pays 
to  finish  the  edges  by  hand. 

The  napkin,  finished  with  a  French  hem,  in  this  lesson,  gives 
an  example  of  the  most  common  method  used  in  finishing  the  ends 
of  both  napkins  and  table  cloths.  This  form  of  hem  is  very  neat  and 
serviceable. 


References : 

Flax,   Shelter  and  Clothing,   Kinne  and  Cooley.     Macmillan. 

The  Linen   Industry,   Textiles,   Woolman   &   McGowan.     Macmillan. 


us 

SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


PLAIN  NAPKIN. 

No.  1.  This  napkin  is  made  like  the  one  described  in  the  lesson 
\vith  the  initial  omitted. 

LUNCHEON  NAPKIN. 

No.  2.  This  napkin  is  made  of  plain  linen.  The  hems  are  held  in 
place  with  double  overcasting  stitches  made  to  cross  each  other.  The 
design  is  worked  in  cross-stitch. 

LUNCHEON  NAPKIN. 
No.  3.    This  napkin  is  finished  with  a  crocheted  edge. 

LUNCHEON  NAPKIN. 
No.  4.     This  napkin  is  finished  with  a  plain  scalloped  edge. 

FRINGED  NAPKIN. 

No.  5.  This  is  a  luncheon  napkin  with  fringed  edges  made  by 
hemstitching  the  napkin  about  one  inch  from  the  edge  and  raveling 
the  threads  up  to  the  hemstitching. 

LUNCHEON  NAPKIN. 

No.  6.  This  napkin  is  finished  with  hemstitched  hems,  and  em- 
broidered with  the  satin  stitch. 


119 

WORKING  DIRECTIONS  FOR  EMBROIDERED  NAPKIN 
PREPARING  MATERIAL. 

Napkins  are  rarely  sold  singly;  they  are  usually  joined  in  a 
long  strip  with  six  or  twelve  in  a  set;  two  or  three  coarse  threads 
mark  the  dividing  line  between  the  napkins.  To  separate  the  nap- 
kins, cut  between  two  of  these  coarse  threads.  If  necessary,  straighten 
the  edges  of  the  end  napkin  (Chap.  II,  Par.  102). 

FINISHING  RAW  EDGES. 

Ordinarily  napkins  are  finished  only  on  the  two  raw  edges,  the 
two  selvages  being  left  as  they  are.  The  hems  of  the  cheaper  napkins 
which  are  used  daily  are  sometimes  stitched  on  the  sewing  machine 
to  save  time,  but  fine  table  napkins  should  always  be  hemmed  by 
hand.  The  French  hem  (Chap.  II,  Par.  119)  used  to  finish  the  raw 
edges  of  the  napkin  in  this  lesson  is  more  commonly  used  than  any 
other.  It  is  neat  ,strong  and  very  easy  to  make.  This  hem  should 
be  rather  narrow  (about  %  or  iV  is  considered  a  good  width). 

If  desired,  the  hems  may  be  finished  with  hemstitching  (Chap. 
II,  Par.  115)  or  with  damask  hemstitching  (Chap.  II,  Par.  117). 

Luncheon  napkins,  which  are  always  smaller  in  size  than  the  reg- 
ular napkins,  may  be  finished  more  elaborately.  They  are  usually 
hemmed  on  four  sides.  A  hemstitched  hem  is  frequently  used;  a 
narrow  edging  of  crocheting  is  also  quite  common. 

DESIGN. 

Table  linen  is  embroidered  very  little,  as  the  beauty  of  the  linen 
is  considered  its  chief  attraction,  and  it  is  not  necessary  to  enhance 
it  with  elaborate  forms  of  needlework.  Howrever,  it  is  customary 
to  mark  each  napkin  \vith  an  embroidered  initial  or  monogram  (in- 
terwoven initials).  Table  linen  for  a  bride  elect  should  be  marked 
with  the  initials  of  her  maiden  name;  the  matron  should,  of  course, 
use  the  initials  of  her  name  after  marriage.  While  any  style  of  in- 
itial may  be  used  to  suit  the  individual  taste,  old  English  or  script 
is  probably  more  commonly  used  than  others. 

The  initial  may  be  placed  diagonally  in  one  corner  of  the  napkin. 
If  the  center  of  the  napkin  contains  a  wreath  design,  the  initial  may 
be  placed  in  the  center  of  this  design.  When  this  napkin  is  laundered 
it  should  be  folded  in  thirds  lengthwise,  then  in  thirds  crosswise. 
This  will  show  the  initial  in  the  center  of  the  folded  napkin. 


120 

TRANSFERRING   AND   WORKING   DESIGN. 

Select  an  initial.  If  a  commercial  pattern  is  used,  transfer  the 
initial  to  the  napkin  by  placing  the  rough  side  down  over  the  place 
selected,  and  pressing  with  a  hot  iron;  remove  the  pattern.  If  neces- 
sary, transfer  your  design  with  carbon  paper  by  placing  a  piece 
slightly  larger  than  the  initial  over  the  proper  place  in  the  napkin; 
place  pattern  for  the  initial  over  this,  pinning  it  to  keep  it  from  slip- 
ping; trace  the  initial  with  a  lead  pencil.  Remove  the  pattern  and 
carbon  paper;  work  the  initial. 

This  initial  is  to  be  worked  with  the  satin  stitch  (Chap.  II,  Par. 
131).  It  should  be  padded.  The  padding  should  be  thicker  in  the 
center  than  on  the  edges  in  order  to  make  the  letter  rounding. 

Paper  Mache  letters  may  be  purchased  and  used  in  embroidering 
initials.  When  they  are  used  it  is  not  necessary  to  use  a  design  for 
the  initial  on  the  napkin,  nor  to  do  any  padding.  Each  paper  mache 
letter  should  be  sewed  securely  in  place  with  the  satin  stitch.  These 
letters  will  crack  in  time  and  are  not  as  satisfactory  as  the  letters 
worked  over  the  padded  design. 

FINISHING  TABLE  CLOTHS. 

The  ends  of  the  table  cloth  should  be  finished  the  same  as  the 
napkins.  The  initial,  or  monogram,  may  be  placed  in  the  center,  if 
there  is  a  wreath  design  (any  table  decorations  in  the  center  of  the 
table  will  cover  this,  however).  The  design  is  often  placed  diagonally 
in  one  corner  inside  of  the  border,  or  straight  across  one  end  (inside 
of  the  border). 


121 


SHOP  APRON 

MATERIALS. 
Denim  (Chap.  I,  Par.  14). 

3/4yard  Denim. 
2  yards  mercerized  tape. 
White  thread  No.  50. 
Needle  No.  6. 


INTRODUCTORY  STATEMENT. 

When  working  in  the  manual  training  shop,  it  is  quite  necessary 
for  a  boy  to  wear  an  apron  of  some  sort  to  protect  his  clothes  from 
the  wear  of  tools  and  materials  and  from  the  spots  of  stain  and  varn- 
ish which  are  generally  quit  plentiful. 

This  apron  should  be  made  rather  short  so  as  not  to  interfere 
with  the  free  movements  necessary  in  this  work.  As  it  is  subjected 
to  harcl  wear  it  should  be  made  of  a  strong  material.  Denim,  ticking 
or  duck  are  generally  used. 

While  a  satisfactory  apron  may  be  bought,  it  can  be  made  with 
less  expense  at  school  or  at  home.  In  some  schools,  the  girls  in  the 
sewing  class  are  very  glad  to  repay  the  boys  for  services  rendered 
in  repairing  equipment  in  the  sewing  room  by  making  their  shop 
aprons  for  them.  This  shows  a  fine  spirit  of  cooperation. 

The  apron  shown  in  this  lesson  can  be  very  easily  and  quickly 
made;  the  size  and  arrangement  of  pockets  is  a  matter  to  be  deter- 
mined by  the  wearer. 


References : 

Useful  Fiber  Plants,  Dodge. 

Spinning  and  Weaving,  Textiles,  Woolman  &  McGowan. 


Macmillan. 


122 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SHOP  APRON. 

No.  1.  This  is  a  very  common  style  of  shop  apron  provided  with 
two  large  pockets  for  nails  and  a  small  pocket  for  ruler  and  lead 
pencil.  These  nail  pockets  should  be  set  on  with  considerable  full- 
ness so  they  will  stand  open,  allowing  easy  access  to  the  nails. 

CHILD'S  PLAY  APRON. 

No.  2.  This  apron  may  be  used  by  a  child  to  protect  the  cloth- 
ing while  working  in  clay  modeling,  or  at  mud  pie  making. 

NAIL  APRON. 

No.  3.  This  is  a  very  common  style  of  apron  used  by  carpenters. 
While  it  does  not  offer  much  protection  to  the  clothing,  it  is  con- 
venient for  carrying  nails. 


123 

WORKING  DIRECTIONS  FOR  SHOP  APRON 

PREPARING  MATERIAL. 

Straighten  the  raw  edge  on  one  end  (Chap.  II,  Par.  102).  Meas- 
ure down  one  selvage  27"  (the  length  of  the  apron);  this  may  be  too 
long  for  a  small  boy.  If  it  is,  make  it  the  length  desired.  Draw  a 
thread  crosswise  and  cut  on  the  line.  The  selvages  may  be  left  to 
finish  the  hems  on  the  sides,  for  the  selvages  on  this  heavy  material 
are  not  likely  to  pucker  when  laundered;  they  will  make  a  firm 
finish  for  the  hems. 

SHAPING  THE  APRON. 

This  apron  is  curved  under  the  arms,  but  as  no  sleeve  is  in- 
serted, it  is  not  necessary  to  cut  the  curves  as  accurately  as  you 
otherwise  would.  To  locate  the  top  of  the  curve,  find  the  center  of 
the  apron  lengthwise  by  folding  the  two  long  edges  together  evenly; 
crease  en  the  fold.  On  one  end  of  the  apron  (this  is  to  be  the  top) 
measure  out  from  the  center  fold  6"  (half  the  width  of  the  top  of  the 
apron) ;  mark  \vith  a  pin.  To  locate  the  bottom  of  the  curve,  measure 
down  from  the  upper  unfolded  corner  8V£";  mark  with  a  pin.  With 
a  piece  of  tailor's  chalk,  or  ordinary  crayon,  which  has  been  sharp- 
ened to  a  point,  mark  an  inw^ard  curve,  connecting  the  two  points 
marked  by  the  pins.  Cut  through  both  thicknesses  of  the  material 
around  the  curve.  If  the  cloth  is  too  thick  to  allow  you  to  cut  two 
thicknesses  at  a  time,  cut  on  the  curve  on  the  upper  side  first;  use 
it  as  a  guide  to  cut  out  the  curve  on  the  other  side. 

SEWING  ON  TAPES  AND  TURNING  HEMS. 

To  find  the  length  of  the  tape  for  the  neck,  pin  one  end  of  the 
tape  to  the  top  edge  of  the  apron  near  the  arm  curve;  holding  the 
apron  up  to  the  person  for  whom  it  is  intended,  bring  the  tape  around 
the  back  of  the  neck,  adjust  the  apron  to  the  proper  length  and  pin 
tape  on  the  edge  near  the  other  corner  of  the  top  of  the  apron.  Cut 
off  the  extra  tape;  divide  in  two  pieces  of  equal  length  and  use  these 
pieces  for  apron  strings.  The  tape  for  the  neck  is  to  be  stitched  in 
with  the  top  hem  of  the  apron.  To  do  this,  unpin  the  ends  of  the 
tape  and  baste  them  on  the  right  side  of  the  material,  even  with  the 
edge  in  the  place  they  were  pinned,  near  the  top  of  the  arm  curve. 

Fold  and  baste  a  1/4"  hem  around  the  arm  curve  and  the  top 
of  the  apron,  turning  in  the  ends  of  the  tape  with  the  hem.  Stitch 
these  hems  in  place  with  the  other  hems  of  the  apron.  The  tapes 
which  are  to  be  used  for  strings  are  to  be  sewed  to  the  straight  edges, 


124 

at  the  back  near  the  arm  curves;  as  they  are  to  be  stitched  with  the 
hem,  lay  the  end  of  one  piece  of  tape  on  the  right  side  of  the  apron, 
allowing  the  end  to  extend  over  the  selvage  about  y^".  Turn  this 
edge  under  and  pin  it  in  place.  In  the  same  manner  place  the  other 
piece  of  tape  on  the  opposite  edge  of  the  apron  even  with  the  first 
tape.  Beginning  at  the  bottom  of  each  long  edge,  fold  *4"  hem  with- 
out a  first  turning  up  to  the  arm  curve,  turning  the  ends  of  the  tape 
inside  and  letting  the  selvage  finish  one  edge  of  the  hem.  Baste 
with  even  basting;  fold  and  baste  a  hem  about  Vi"  wide  at  the  bottom 
of  the  apron,  stitch  the  hems  around  the  edges  of  the  apron  on  the 
sewing  machine,  sewing  the  tape  in  the  edge  of  the  hem  as  you  stitch. 

RULER  POCKET  (IF  DESIRED). 

A  pocket  may  be  placed  on  the  apron  if  desired.  This  pocket 
may  be  5". long  and  3"  wide  with  a  y2"  hem  at  the  top.  Turn  in  the 
other  "raw  edges,  crease  and  baste  with  uneven  basting  (Chap.  11, 
Par.  104).  Place  it  on  the  apron  about  2V2"  from  the  left  arm  hole 
and  a  few  inches  from  the  top  of  the  apron;  baste  it  in  place  and 
stitch  around  the  edges  on  the  sewing  machine.  A  narrow  pocket  for 
a  pencil  may  be  formed  by  making  a  row  of  stitching  through  the 
pocket  parallel  with  the  sides. 


125 

IRONING  BOARD  COVER 


MATERIALS. 

Muslin    (Chap.  I,  Par. 
27). 


2  yards  muslin  (un- 
bleached). 

4  yards  tape. 

White  thread  No.  70. 

Needle  No.  8. 

1  piece  drafting  pa- 
per, 30"x62". 


INTRODUCTORY  STATEMENT. 

It  is  very  important  that  the  cover  on  an  ironing  board  should 
be  kept  clean.  If  it  is  not  it  will  soil  the  clothes  that  are  ironed  on 
it.  With  care,  the  cover  on  an  ironing  board  can  be  kept  clean  for 
some  time,  but  on  account  of  dirt  and  the  occasional  scorching  which 
ironing  boards  are  almost  sure  to  get,  it  will  eventually  need  to  be 
removed;  if  it  is  tacked  to  the  board  permanently  this  is  quite  a  task. 

A  cover  which  can  be  easily  removed  and  replaced  will  be  found 
much  more  satisfactory.  Before  this  cover  is  placed  on  it,  the  iron- 
ing board  should  be  properly  padded  with  several  thicknesses  of 
canton  flannel,  heavy  outing  flannel  or  felt  (a  discarded  blanket  or 
bed  spread  will  answer  this  purpose). 

The  removable  cover  shown  in  this  lesson  is  provided  with 
tape  strings  placed  at  frequent  intervals.  These  tapes  are  to  be  tied 
together  under  the  board,  thus  making  it  possible  to  adjust  this  cover 
to  different  sized  ironing  boards,  also  to  draw  it  perfectly  smooth. 

Unbleached  muslin  makes  a  very  satisfactory  cover,  and  since 
it  is  not  expensive,  it  is  very  commonly  used  for  this  purpose. 


References: 

Approved  Methods  for  Home  Laundering.     Proctor  and  Gamble  Co.,  Gin.,  O. 
Laundry  Manual,  Balderston   &  Lemerick.     Whitcomb  &   Barrows. 
Laundry  Manual,  Mrs.  Lord.     Nelson  &  Son,  N.  Y. 


126 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


LARGE  IRONING  BOARD  COVER. 

No.  1.  No.  1  is  a  large  ironing  board  cover,  very  similar  to  the 
one  in  the  lesson.  It  is  provided  with  rings  so  as  to  lace  around  the 
board  with  tape.  The  top  portion  of  the  ironing  board  cover  is  a 
sort  of  pocket  or  hood  that  fits  securely  over  the  end  of  the  board. 

PRESSING  PAD. 

No.  2.  No.  2  is  a  pressing  pad  made  of  heavy  unbleached  muslin 
of  two  or  more  thicknesses.  It  is  provided  writh  tapes  with  which 
it  may  be  fastened  in  place.  It  is  used  in  pressing  laces  and  very 
dainty  fabrics. 

PRESSING  CLOTH. 

No.  3.  No.  3  is  a  large  rectangular  piece  of  heavy  unbleached 
muslin  hemmed  on  all  sides.  It  is  used  in  pressing  garments. 

IRONING  BOARD  COVER. 

No.  4.  This  is  a  large  ironing  board  cover  gathered  at  one  end 
and  held  in  place  by  ties  of  tape. 


127 

WORKING  DIRECTIONS  FOR  IRONING  BOARD  COVER 
PREPARING  MATERIAL. 

If  desired  you  may  make  a  pattern  and  cut  the  ironing  board 
cover  from  it,  using  the  following  directions,  or  you  may  apply  the 
directions  directly  to  the  muslin.  Straighten  one  end  of  the  material 
first  (Chap.  II,  Par.  102),  then  fold  it  in  the  center  lengthwise. 

LAYING  OUT  THE  COVER. 

As  the  dimensions  are  given  for  one-half  of  the  ironing  board 
cover  folded  lengthwise,  first  find  the  center  of  the  paper  by  folding 
the  long  edges  together  evenly.  On  the  straightened  end  measure 
out  from  the  center  fold  15"  (half  the  width  of  the  cover  at  the  wide 
end).  Mark  this  writh  a  dot  and  call  it  number  1.  From  dot  1  meas- 
ure up  on  the  fold  45"  (the  place  where  the  flap  begins);  mark  with 
a  dot,  call  it  number  2.  From  dot  2  measure  out  12"  (the  width  of 
the  ironing  board  cover  at  this  point) ;  mark  with  a  dot  and  call  it 
number  3.  Connect  dots  3  and  1  with  a  straight  line,  using  a  yard 
stick  and  pencil.  As  half  the  flap  is  5"  narrower  than  half  the  iron- 
ing board  cover  at  this  point,  measure  back  toward  the  fold  from  dot  3, 
mark  with  a  dot,  call  this  number  4.  Connect  dots  3  and  4  with  a 
straight  line.  From  the  folded  corner  at  the  wide  end  of  the  cover 
measure  up  on  the  fold  60",  the  full  length  of  the  cover,  mark  with 
a  dot  and  call  it  number  5;  from  dot  5  measure  out  6"  toward  the 
unfolded  edge  (this  is  half  the  width  of  the  narrow  end  of  the  flap) ; 
mark  with  a  dot;  call  this  number  6.  Connect  dots  6  and  4  with  a 
straight  line;  cut  out  the  pattern  for  the  cover,  making  it  the  shape 
shown  in  the  illustration.  As  the  flap  is  to  be  made  double  in  order 
to  fit  over  the  end  of  the  ironing  board,  an  extra  piece  must  be  cut 
out  for  this  purpose.  Open  the  paper  and  pin  the  flap  end  over  an- 
other piece  of  paper  large  enough  to  cut  the  piece  exactly  like  the 
flap,  allowing  V-i"  extra  on  the  wide  end  for  a  hem.  Cut  out  the  extra 
piece.  Fold  the  long  edges  of  the  material  for  the  cover  together 
evenly;  crease  on  the  fold;  lay  the  straight  edge  of  the  pattern  on 
the  fold  of  the  material;  pin  it  in  several  places  to  keep  it  from  slip- 
ping; cut  out  the  cover. 

SETTING  ON  TAPES. 

The  ends  of  the  tapes  to  be  used  to  tie  the  cover  to  the  ironing 
board  are  to  be  folded  under  with  the  hems.  They  should  be  pre- 
pared first.  To  do  this,  cut  18  pieces  of  tape  each  8"  long.  On  the 
right  side  of  the  cover,  beginning  at  the  wide  end,  lay  9  of  these 


128 

strips  on  the  cloth  with  one  end  of  each  even  with  the  edge  of  the 
cover  at  equal  intervals  of  5".  Fold,  baste  with  even  basting  (Chap. 
II,  Par.  103)  and  stitch  a  hem  *4"  wide  along  this  edge  of  the  cover 
and  the  end  next  to  the  flap,  stitching  the  tapes  under  edge  of  the  hem. 
Finish  the  end  of  the  hem  next  to  the  flap  by  turning  in  the  raw 
edge  and  sewing  it  down  with  hemming  stitches  (Chap.  II,  Par.  114). 
Fasten  the  tapes  and  make  a  hem  on  the  opposite  edge  and  end  of 
the  cover  in  exactly  the  same  manner. 

Finish  the  wide  end  of  the  cover  with  a  1A"  hem,  the  same  as 
the  hems  on  the  edges. 

TO  MAKE  THE  FLAP. 

Make  a  %"  hem  on  the  wide  end  of  the  extra  piece  which  is  to 
be  sewed  on  to  the  flap  end  of  the  ironing  board;  turning  the  seam 
toward  the  wrong  side,  make  the  edges  even  and  baste  this  piece 
to  the  flap  with  a  1/4"  seam.  Stitch  it  in  place  on  the  sewing  machine 
(Chap.  II,  Par.  164);  turn  right  side  out;  remove  all  bastings. 


129 

CLOTHES  PIN  APRON 

MATERIALS. 

Ticking  (Chap.  I,  Par.  34) 
or 

Gingham    (Chap.  I,  Par.  19). 

1  yard  ticking  or  gingham. 
30"   bias   tape   %"   wide. 
Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

Wash  day  at  its  best  represents  a  great  deal  of  hard  work,  even 
though  modern  inventions  have  done  much  to  relieve  the  housewife 
of  some  of  the  drudgery.  While  the  laundries  are  supplied  with 
regular  driers  in  which  the  clothes  are  hung  and  dried  very  quickly 
with  hot  air,  there  is  nothing  that  quite  takes  the  place  of  sunshine 
and  fresh  air  in  drying  clothes,  and  in  the  average  home  the  clothes 
are  still  hung  out  of  doors  on  the  line  where  they  are  thoroughly 
sweetened  with  nature's  great  disinfectants,  sunshine  and  fresh  air. 

When  clothes  are  hung  out  of  doors  they  must  be  fastened  to 
the  line  with  clothes  pins.  To  save  stooping  to  the  clothes  basket 
each  time  clothes  pins  are  needed,  a  clothes  pin  bag  of  some  sort  is 
usually  hung  over  the  shoulders  or  tied  around  the  waist.  This  bag 
should  be  made  of  some  firm  material,  such  as  ticking,  denim  or 
galatea  cloth. 

While  the  clothes  pin  bag  does  not  offer  much  opportunity  for 
originality  in  design,  yet  the  clothes  pin  apron  shown  in  this  lesson 
has  some  advantages;  it  can  be  tied  around  the  waist,  will  remain 
open  sufficiently  to  allow  easy  access  to  the  clothes  pins,  and  will 
also  afford  some  protection  to  the  clothing. 


References: 

Laundry  Work,  Shepperd.     Webb  Publishing  Co.,  St.  Paul. 
House  Sanitation,  Talbot.     Manual  Arts  Press. 


130 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


fi 


CLOTHES  PIN  BAG. 

No.  1.  This  model  is  made  very  similar  to  the  one  described  in 
this  lesson.  The  strap  which  is  to  be  hung  over  the  shoulders  is 
substituted  for  the  band  which  ties  around  the  waist. 

"SUNNY  MUNDY"  APRON. 

No.  2.  This  apron  is  also  made  very  much  like  the  one  shown  in 
the  lesson,  the  pockets  are  rounded  out  at  the  corners.  The  outside 
edge  is  bound  with  bias  tape  the  same  as  that  used  in  binding  the 
pockets. 

CRASH  CLOTHES  PIN  BAG. 

No.  3.  This  is  an  ordinary  bag  gathered  at  the  top  to  fit  a  pair 
of  embroidery  hoops  about  6"  in  diameter.  It  should  be  hung  over 
the  shoulders  with  cable  cord. 

CLOTHES  PIN  APRON. 

No.  4.  This  apron  is  made  from  a  straight  strip  of  material  the 
same  width  as  the  shoulders.  A  round  hole  is  cut  for  the  neck.  One 
end  forms  the  back  and  is  gathered  into  a  band;  the  other  end  forms 
the  front  and  receives  the  pocket. 


131 
WORKING  DIRECTIONS  FOR  CLOTHES  PIN  APRON 

PREPARING  MATERIAL. 

This  apron  is  to  be  made  from  one  strip  of  ticking  one  yard 
long  by  21"  wide.  Straighten  one  end  of  the  material  (Chap.  II,  Par. 
102).  Measure  down  one  long  edge  36"  (one  yard),  the  length  of  the 
apron  and  pocket.  Tear  crosswise,  or,  draw  a  thread  crosswise  and 
cut  on  the  line.  Tear  off  a  strip' 2% "  wide  lengthwise  of  the  material 
(this  is  to  be  used  for  the  band).  On  one  end  of  the  material  meas- 
ure out  21",  the  width  of  the  apron;  tea^  lengthwise,  or  cut  on  a 
thread  or  stripe  of  the  material. 

CUTTING  OUT  THE  APRON. 

This  apron  is  to  be  made  by  cutting  a  curved  piece  out  of  one 
end,  finishing  this  with  bias  tape,  and  folding  it  up  even  with  the 
other  end  to  form  the  pocket  for  the  clothes  pins.  To  cut  out  the 
curve,  fold  the  material  with  the  long  edges  even,  crease  on  the  fold 
formed  in  the  center.  To  mark  the  top  of  the  curve,  measure  out 
from  the  fold  on  one  end  T1/^";  mark  with  a  pin.  On  the  same  end, 
to  mark  the  bottom  of  the  curve,  measure  down  on  the  fold  8Vfe"; 
mark  wdth  a  pin.  Connect  the  points  marked  with  pins  with  a  curved 
line  similar  to  the  one  shown  in  the  illustration.  Cut  on  the  line 
through  both  thicknesses  of  the  material.  To  finish  the  raw  edge 
of  the  curve,  fold  it  over  about  *4";  baste  with  uneven  basting  (Chap. 
II,  Par.  104);  keeping  the  edges  even  baste  a  strip  of  bias  tape  over 
the  folded  edge,  stretching  it  around  the  curve  where  necessary  to 
keep  it  smooth;  stitch  on  both  edges  with  the  sewing  machine  (Chap. 
II,  Par.  164).  Remove  bastings. 

BINDING  AND  SEWING  UP  THE  POCKET. 

With  the  bias  tape  turned  inside,  fold  this  curved  out  end  up 
to  the  opposite  one,  making  the  straight  edges  even  (you  will  notice 
about  2"  on  each  side  of  this  end  are  left  straight).  The  fold  will 
form  the  bottom  of  the  apron.  Round  the  corners  of  the  folded  edge, 
as  in  the  illustration.  Baste  the  edges  along  the  sides  and  bottom 
together  with  uneven  basting  (Chap.  II,  Par.  104)  and  stitch  in  a  1/4" 
seam  with  the  sewing  machine  (Chap.  II,  Par.  164).  Remove  the 
bastings,  turn  the  apron  right  side  out  and  stitch  near  the  edge  again 
on  the  right  side.  Divide  the  procket  into  two  parts  by  stitching  it 
to  the  back  of  the  apron  on  the  center  crease. 


132 

CURVING  AND  GATHERING  THE   TOP. 

To  make  it  fit  the  curve  of  the  waist  at  the  waist  line  it  is 
necessary  to  hollow,  or  curve  the  front  of  an  apron  slightly.  To  do 
this,  measure  down  on  the  center  crease  of  the  apron  V2"  from  the 
top.  Mark  with  a  pin,  fold  the  apron  on  the  center  crease  and,  be- 
ginning where  the  curved  edge  of  the  pocket  joins  the  apron,  cut 
a  slightly  curved  line  (through  both  thicknesses)  to  the  point  marked 
with  the  pin.  As  the  apron  is  to  be  gathered  onto  the  band  slightly 
to  make  it  set  neatly,  begin  2"  from  each  side  of  the  center  and  gather 
the  top  of  the  apron  (Chap.  II,  Par.  141).  Draw  the  gathers  tight 
enough  to  make  each  half  of  the  apron  8"  across  the  top. 

SEWING  ON  BAND. 

Use  the  strip  36"  long  and  2V2"  wide  for  the  band.  This  band 
is  to  be  made  long  enough  to  tie  in  the  back. 

To  sew  it  on,  first  mark  the  center  by  folding  the  two  ends  to- 
gether and  creasing  on  the  fold.  With  this  center  crease  placed  on 
the  center  crease  of  the  apron,  sew  and  baste  one  edge  of  the  band 
to  the  top  edge  of  the  apron,  turning  the  seam  toward  the  right  side. 
Stitch  together  with  the  sewing  machine  (Chap.  II,  Par.  164).  Turn  in 
the  other  edge  of  the  band  and  fold  it  over  just  beyond  the  first 
stitching;  pin,  baste  carefully  in  place,  and  stitch  with  the  sewing 
machine.  Finish  the  remaining  raw  edges  of  the  band  with  a  y4" 
hem  stitched  on  the  sewing  machine.  Make  two  parallel  rows  of 
stitching  across  the  band  where  it  begins  to  join  the  apron. 


133 


SCALLOPED 
TOWEL 

MATERIALS. 

Huckaback   (Chap.  I,  Par.  47) 

or 
Damask  (Chap.  I,  Par.  45). 

1%  yards  of  linen  toweling. 
Embroidery  cotton. 
Embroidery  needle. 


INTRODUCTORY  STATEMENT. 

Since  the  ends  of  the  towels  must  be  finished  with  hems  or  some 
stitch  like  the  loop  stitch,  it  is  interesting  to  observe  the  great  variety 
of  ways  in  which  these  two  methods  are  varied.  The  hems  are  made 
in  varying  widths,  finished  with  plain  and  fancy  stitches.  They  may 
be  left  without  ornament  on  the  edge  or  finished  with  crocheted 
lace,  or  tatting,  to  suit  individual  taste.  The  other  method,  the  loop 
stitch,  is  employed  in  making  scallops  of  varying  sizes  and  shapes. 

It  is  alw?ays  advisable  to  use  a  good  quality  of  linen  for  hand 
embroidered  towels  in  order  that  the  quality  of  the  material  may 
correspond  with  the  artistic  work. 

An  embroidered  initial  or  design  is  usually  worked  above  the 
scalloped  edge,  but  a  towel  made  like  the  one  in  this  lesson,  which  is 
finished  with  the  scalloped  edge  alone,  will  be  very  pleasing. 


References: 


Art  in  Needlework,  Day.     Manual  Art   Press. 
Embroideries  and  Their  Stitches.     Buttrick  Pub.  Co.,  N.  Y. 


134 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SCALLOPED  TOWEL. 

No.  1.  This  towel  has  a  scalloped  edge  like  the  one  described 
in  this  lesson.  A  design  placed  above  it  is  worked  with  eyelet  and 
satin  stitch  embroidery. 

FANCY  SCALLOPED  TOWEL 

No.  2.  This  towel  is  made  with  a  deep  scalloped  edge.  The  de- 
sign above  the  edge  is  worked  with  cross-stitches.  The  old  English 
initial  is  worked  with  the  satin  stitch. 

SCALLOPED  TOWEL. 

No.  3.  This  towel  is  finished  at  the  ends  with  more  elaborate 
scallops  than  those  shown  on  the  other  towels;  there  are  5  tiny 
scallops  included  in  one  large  scallop.  The  towel  is  embroidered  with 
an  eyelet  above  each  scallop  and  an  initial  worked  with  the  satin 
stitch. 

SMALL  BATH  TOWEL. 

No.  4.  This  towel  shows  the  effectiveness  of  the  outline  etching 
stitch,  French  knots  and  lazy  daisy  stitches  worked  in  colors  on  the 
end  of  a  bath  towel.  The  scalloped  edge  is  worked  in  a  color  which 
harmonizes  with  the  colors  used  in  the  embroidery  stitch. 


135 

WORKING  DIRECTIONS  FOR  SCALLOPED  TOWEL 

PREPARING  MATERIAL. 
Straighten  the  ends  of  material   (Chap.  II,  Par.  102). 

TO  TRANSFER  THE  PATTERN. 

The  scalloped  edge  used  on  the  towel  in  this  lesson  is  a  plain 
scallop.  It  may  be  designed  on  a  piece  of  paper  in  the  following 
manner;  draw  a  pencil  line  %"  from,  and  parallel  with,  the  end  of 
the  pattern.  Using  a  penny  as  a  pattern  lay  out  the  bottom  of  the 
scallops  even  with  this  line,  with  some  object  about  the  size  of  a 
half  dollar,  lay  out  the  top  edges  of  the  scallops. 

If  you  make  your  own  design  it  must  be  transferred  to  the  edge 
of  the  towel  with  carbon  paper.  To  do  this,  cut  a  strip  of  carbon 
paper  a  trifle  wider  than  the  scallop,  place  it  carbon  side  down  about 
half  an  inch  above  the  edge  of  the  towel  (the  scallops  are  likely  to 
stretch  if  worked  on  the  extreme  edge).  Place  the  pattern  for  the 
scallop  over  the  carbon  paper,  pin  it  to  the  material  in  two  or  three 
places  to  keep  it  from  slipping,  trace  around  the  scallops,  remove  the 
carbon  paper  and  pattern  and  work  the  scallops. 

Commercial  patterns  for  scallops  are  made  in  long  strips  and  are 
very  easily  transferred  by  placing  the  rough  side  down  on  the  de- 
sired place  and  pressing  it  with  a  hot  iron. 

TO  WORK  THE  SCALLOPS. 

When  doing  embroidery  work,  most  people  prefer  to  keep  the 
cloth  smooth  by  stretching  the  material  over  embroidery  hoops.  It 
is  frequently  necessary  to  baste  a  straight  piece  of  lawn  on  the  edge 
below  the  scallops  (so  the  hoops  may  hold  the  material  securely). 
Scallops  may  be  worked  with  white  or  dainty  colored  embroidery 
cotton;  either  coarse  or  fine  may  be  used,  but  they  should  be  padded 
with  the  same  colored  thread  used  in  working  them.  The  padding 
may  be  done  by  holding  a  regular  padding  cotton  or  rope  even  with 
the  lower  edge  of  the  scallops  covering  it  as  you  embroider  with  th2 
loop  stitch;  if  the  scallops  are  used  with  white  thread,  they  may  be 
padded  with  darning  cotton.  (The  padding  cotton  is  usually  heavier 
than  that  used  for  the  finishing  stitch.) 

To  pad  the  scallops  make  the  outline  etching  stitch  (Chap.  II, 
Par.  125)  or  the  chain  stitch  (Chap.  II,  Par.  126),  around  the  edges 


136 

of  the  scallop,  first,  then  fill  in  the  centers.  The  stitches  may  be  rather 
long  but  should  be  kept  smooth  and  even.  After  the  scallops  are 
padded,  begin  at  the  left  side  and  work  them  with  the  loop  stitch 
(Chap.  II,  Par.  128),  keeping  the  stitches  very  close  and  even  on  the 
edges  of  the  scallops.  Both  ends  of  the  towel  should  be  finished  in 
the  same  manner.  Cut  out  the  scallops  and  work  over  the  edge  with 
the  buttonhole  stitch  (Chap.  II,  Par.  136).  An  initial  may  be  placed 
in  the  middle  of  one  end  of  the  towel.  This  initial  can  be  transferred 
to  the  towel  in  the  same  manner  as  the  pattern  for  the  scallops;  it 
should  be  worked  with  the  satin  stitch.  (Chap.  II,  Par.  131). 


137 


FANCY  APRON 

MATERIALS. 
Lawn  (Chap.  I,  Par.  23). 

1*4  yards  lawn. 
Thread  No.  90. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

As  there  are  so  many  uses  for  small  aprons,  it  is  very  desirable 
to  have  several  of  them.  A  small  apron  can  be  worn  many  times 
when  a  large  apron  would  be  inappropriate;  it  is  indispensable  when 
preparing  a  chafing  dish  supper;  it  protects  the  sewing  when  doing 
any  kind  of  needle  work,  and  may  be  worn  when  preparing  or  serving 
a  simple  meal. 

The  material  used  in  making  a  small  apron  should  be  dainty. 
Lawn,  organdie,  dimity,  fine  muslin  or  soft  mercerized  white  goods  of 
any  kind  is  satisfactory.  The  delicate  colored,  sheer  wash  materials 
are  also  very  popular  for  this  purpose. 

Earlier  in  this  book  a  sewring  apron  is  suggested.  It  is  made  in 
a  very  simple  way  while  the  apron  suggested  in  this  lesson  embodies 
most  of  the  principles  employed  in  making  any  apron  which  is  set  on 
a  band.  It  will  serve  as  a  foundation  from  which  to  develop  almost 
any  style  of  fancy  apron. 


References: 

A  Sewing  Course,  Woolman.    Teachers'  College,  N.  Y. 
Cotton  from  Fiber  to  Fabric,  Posselt,  Vo.  IX. 


138 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


FANCY  GORED  APRON. 

No.  1.  This  apron  is  made  with  three  gores  joined  with  lapped 
seams.  The  slightly  curved  hem  is  set  on  with  embroidery  insertion. 

FANCY  APRON. 

No.  2.  This  apron  shows  a  combination  of  white  and  a  dainty 
colored  material  in  a  one  piece  apron  with  a  bib.  The  colored  ma- 
terial is  cut  to  fit  the  outside  edge  of  the  apron  and  scalloped  as  you 
see  in  the  illustration.  EMBROIDERED  APRON. 

No.  3.  This  is  a  circular  apron  trimmed  with  lace  sewed  on  a 
rolled  hem.  The  apron  is  embroidered  with  a  combination  of  satin 
stitches  and  eyelets.  FANCY  APRON. 

No.  4.  This  model  is  much  like  the  one  described  in  this  lesson. 
It  is  more  elaborate  with  lace  trimming  and  hand  embroidery. 


139 
WORKING  DIRECTIONS  FOR  FANCY  APRON 

PREPARING  MATERIAL. 

Straighten  one  end  of  the  material  (Chap.  II,  Par.  102).  On  one 
selvage  edge  measure  down  24^"  (the  length  of  the  apron  plus  the 
hem).  Draw  a  thread  crosswise  and  cut  on  the  line.  The  strings  and 
band  are  to  be  made  from  the  remaining  material.  Measure  out  4" 
the  width  of  one  string.  Draw  a  thread  lengthwise.  From  the  line 
formed,  measure  out  again  on  the  same  edge  4",  the  width  of  the  other 
string;  draw  a  thread  lengthwise.  From  the  line  formed  measure  out 
21/4"  for  the  band.  Cut  on  the  lines  and  pin  together  the  pieces  for 
the  strings  so  they  will  not  be  mislaid. 

PUTTING  ON  THE  BAND. 

As  this  apron  is  to  be  made  the  width  of  the  material,  the  selvage 
edges  may  be  used  for  the  edges  of  the  apron.  As  it  is  not  gored  it  is 
necessary  to  gather  it  across  the  top  to  make  it  fit  properly. 

Before  gathering,  mark  the  center  of  one  end,  with  a  pin,  call  this 
the  top.  Gather  one  edge  of  the  material  (Chap.  II,  Par.  141),  draw  up 
the  gathers  until  the  top  of  the  apron  measures  about  16"  wide.  Find 
the  center  of  the  band  by  laying  the  two  ends  together,  crease  on  the 
fold;  lay  this  crease  on  the  center  crease  of  the  apron;  pin  and  baste 
one  edge  of  the  band  to  the  top  edge  of  the  apron,  turning  the  seams 
toward  the  right  side.  (This  will  be  stitched  on  the  sewing  machine 
after  the  strings  have  been  basted  into  the  ends  of  the  band.)  Turn 
in  the  raw  edges  on  the  ends  and  the  unstitched  edge  of  the  band; 
fold  the  band  over  the  gathers  just  beyond  the  first  stitching;  pin, 
baste  carefully  in  place.  This  is  to  be  stitched  with  the  sewing  ma- 
chine after  the  ends  of  the  strings  are  basted  in  the  band. 

TO  MAKE  THE  STRINGS. 

Turn  a  narrow  hem  (about  %"  wide  on  each  long  edge),  baste  and 
stitch  on  the  sewing  machine  (Chap.  II,  Par.  164)  or  hem  by  hand 
(Chap.  II,  Par.  114).  On  one  end  of  each  string  turn  a  W  hem;  baste 
and  stitch  or  hem  in  place.  To  set  the  strings  into  the  band,  lay  two 
or  three  pleats  in  the  unhemmed  end  of  each  string  to  make  it  just  fit 
inside  the  opening  at  the  ends  of  the  band. 

Place  the  pleated  end  of  one  string  inside  one  end  of  the  band 
about  1/4"  and  baste  in  place;  insert  the  other  string  in  like  manner. 


140 

Stitch  with  the  sewing  machine  on  the  right  side,  entirely  around  the 
edge  of  the  band. 

PUTTING  IN  THE  HEM  AT  THE  BOTTOM. 

Make  a  hem  5"  wide  at  the  bottom  of  the  apron.  If  you  desire 
the  apron  longer,  make  the  hem  narrower,  or  if  you  would  like  it 
shorter,  make  the  hem  wider.  Baste  the  hem  in  place  with  even 
basting  and  stitch  in  place  with  the  sewing  machine.  Overhand  the 
open  edges  of  the  hem  together  (Chap.  II,  Par.  109).  This  hem  may 
be  finished  with  hemstitching  (Chap.  II,  Par.  115  or  116)  or  with 
featherstitching  (Chap.  II,  Par.  121)  on  the  right  side. 


141 


BEDROOM 
SLIPPERS 

MATERIALS. 

2   skeins   Germantown   yarn 
(color  desired). 

1    skein    Germantown    yarn 
(white  or  contrasting  color). 

1  pair  slipper  soles  (size  de- 
sired). 

1  bone  hook. 
Thread  No.  60. 
Needle  No.  5. 


INTRODUCTORY  STATEMENT. 

It  is  quite  important  that  everyone  should  have  some  kind  of 
footwear  that  can  be  easily  slipped  on  when  it  is  found  necessary  to 
wralk  about  the  house  after  the  shoes  have  been  removed.  This  is 
necessary  not  only  to  provide  comfort,  but  also  to  safeguard  the  health. 

Yarn  slippers  writh  soles  of  soft  wooly  material  will  be  found 
very  warm,  comfortable  and  easy  to  slip  on.  During  extremely  cold 
weather  they  will  serve  as  slumber  slippers  to  keep  the  feet  warm 
in  bed. 

The  slippers  shown  in  this  lesson  are  easily  crocheted;  the  com- 
bination of  two  contrasting  colors  makes  them  very  attractive. 


References: 

Book  of  the  Use  of  Yarns. 
Art  in  Needlework,  Day. 


Horstman  Co.,  Philadelphia. 
Manual   Arts  Press. 


142 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


BED  SLIPPERS. 

No.  1.  These  slippers  are  made  from  bath  robe  material;  outing 
flannel  may  be  used.  A  stocking  may  be  used  as  a  pattern  cutting 
the  slippers  considerably  wider  at  the  top  for  the  material  will  not 
stretch  like  a  stocking. 

INFANT'S  BOOTEES. 

No.  2.  These  are  crocheted  from  white  Saxony  yarn,  trimmed 
with  crocheted  rows  of  pink  yarn. 

BEDROOM  SLIPPERS. 

No.  3.     The  body  of  these  bedroom  slippers  is  crocheted  in  the 
same  manner  as  directed  in  this  lesson.     The  tops  are  finished  with, 
crocheted  beading  and  scallops;   bands   of  elastic  run  through  the 
beading  hold  the  slippers  on  the  feet. 

BEDROOM  SLIPPERS. 

No.  4.  These  slippers  are  made  almost  the  same  as  the  slippers 
described  in  this  lesson,  the  top  being  finished  with  a  scalloped  edge. 
The  ends  of  the  crocheted  strings  are  finished  with  tassels. 


143 

WORKING  DIRECTIONS  FOR  CROCHETED  SLIPPERS 
PREPARING  MATERIAL. 

The  crocheted  slipper  in  this  lesson  consists  of  rows  of  double 
crocheting  which  are  gradually  increased  in  length  from  the  toe  to 
the  top  of  the  instep,  and  crocheted  half  this  width  in  a  straight  strip 
long  enough  to  fit  around  the  back  of  the  foot  and  join  the  instep  of 
the  slipper  on  the  opposite  side.  It  is  important  that  you  buy  the 
slipper  soles  the  proper  size  before  crocheting  the  slippers  as  the  top 
should  be  fitted  to  the  sole  while  crocheting. 

CROCHETING  THE  BODY  OF  THE  SLIPPER. 

For  a  No.  5  slipper  sole  crochet  13  chain  stitches  (Chap.  II,  Par. 
155)  (a  smaller  slipper  will  need  fewer  chain  stitches,  but  they  should 
be  uneven  in  number).  Turn  over  the  work  and  double  crochet 
(Chap.  II,  Par.  157),  in  each  chain  stitch.  In  the  seventh  chain  stitch 
make  two  crochets  (this  begins  to  widen  the  slipper).  Continue 
double  crocheting  to  the  end  of  the  chain.  Turn  over  the  work  and 
double  crochet  into  the  upper  edge  of  the  first  row  of  double  crochet 
stitches,  putting  in  two  stitches  in  the  double  crochet  at  the  center 
of  the  row.  Continue  working  back  and  forth  making  rows  of  double 
crocheting  in  this  manner,  increasing  the  row  with  one  extra  stitch 
in  the  center  each  time  until  you  have  reached  the  top  of  the  instep 
(about  51A"). 

Begin  to  make  strip  to  fit  around  foot  as  follows:  On  the  last 
row,  working  from  right  to  left,  crochet  up  to  the  center  only  of  the 
last  row  of  double  crocheting.  Turn  over  the  work  and  continue 
crocheting  rows  of  double  crochet  until  you  have  a  strip  long  enough 
to  reach  around  the  back  of  the  slipper  sole  to  the  edge  of  the  instep. 
Fasten  to  the  row  of  double  crocheting  on  the  end  of  the  instep  by 
laying  the  two  edges  together  and  drawing  the  slip  stitches  through 
the  stitch  on  the  edge  of  each.  This  forms  the  body  of  the  slipper. 

CROCHETING  COLLAR  OF  SLIPPER. 

The  collar,  or  rolled  over  portion  of  the  slipper  should  be  made 
of  yarn  of  a  contrasting  color.  To  make  it,  crochet  a  chain  of  stitches 
2"  long.  Turn  the  work  and  make  a  double  crochet  in  each  chain 
stitch;  continue  making  rows  of  double  crocheting  back  and  forth 
until  you  have  a  strip  long  enough  to  reach  around  the  opening  in  the 
top  of  the  body  of  the  slipper. 

Laying  the  long  edge  of  this  strip  on  the  inside  of  the  top  edge, 
the  ends  being  even  with  the  center  of  the  instep,  slip  stitch  (Chap.  11^ 


144 

Par.  156)  the  two  edges  together;  fasten  the  bottom  ends  of  the  collar 
together  about  l/2n  with  slip  stitches.  This  makes  the  collar  lit  more 
closely  around  the  ankle.  Turn  the  slipper  wrong  side  out  and  over- 
hand it  on  the  inside  edge  of  the  slipper  sole  to  the  tape  provided  for 
that  purpose  along  the  edge.  Turn  the  slipper  right  side  out. 

TO  MAKE  THE  POMPON. 

Wrap  yarn,  corresponding  with  the  yarn  in  the  collar,  around 
three  fingers  of  the  left  hand  about  12  times.  Slip  it  off  the  fingers 
and  tie  the  strands  together  with  another  piece  of  yarn.  Lay  the  ends 
of  this  piece  in  with  the  others  and  about  W  from  the  tied  place, 
wrap  the  strands  of  yarn  several  times  tightly,  with  white  thread.  Cut 
off  the  ends  of  the  yarn  where  they  are  not  tied  about  1"  above  the 
thread.  Rub  the  cut  ends  on  the  palm  of  one  hand  to  make  them 
fluffy.  Make  two  of  these  pompons  and  se\v  them  together  at  the 
closed  ends,  then  sew  them  on  the  instep  of  the  slipper  below  the 
front  of  collar. 

Make  the  other  slipper  in  the  same  manner  as  this  one. 


145 

HANDMADE  HANDKERCHIEF 

MATERIALS. 

Handkerchief   Linen    (Chap. 
I,  Par.  46). 

1    piece   handkerchief   linen 
11"  square. 

6-strand  D.  M.  C.  embroidery 
cotton  No.  25. 

Fine  steel  crochet  hook. 
Thread  No.  80. 
Needle  No.  9. 


INTRODUCTORY  STATEMENT. 

There  is  a  notion  that  a  dainty  spotless  pocket  handkerchief  is 
one  of  the  marks  of  a  well  bred  woman.  If  you  wish  to  carry  a  clean 
handkerchief  on  all  occasions,  it  is  quite  necessary  that  you  have  a 
considerable  number  of  them.  Although  it  is  possible  to  buy  them 
at  reasonable  prices,  many  girls  enjoy  making  at  least  some  of  their 
handkerchiefs. 

Handmade  handkerchiefs  may  be  made  of  fine,  soft  lawn,  but 
line  handkerchief  linen  is  preferable  although  it  is  more  expensive. 
Linen  handkerchiefs  wear  better  than  cotton  ones. 

Many  people  prefer  to  buy  plain  hemstitched  handkerchiefs  and 
either  finish  the  edges  with  lace  or  crocheting;  or  make  an  em- 
broidered initial  or  design  in  the  corner.  This  saves  the  time  other- 
wise spent  in  hemstitching  the  handkerchief  by  hand.  The  handker- 
chief shown  in  this  lesson  is  finished  with  a  dainty  crocheted  edge. 
It  is  made  entirely  by  hand. 


References: 

Linen  Trade — Ancient  and   Modern,  Warden.     Longsmans. 
Chats  on  Old  Lace  and  Needlework,  E.  L.  Lowes. 


146 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


HEMSTITCHED  HANDKERCHIEF. 

No.  1.  This  handkerchief  is  finished  with  a  narrow  hem  hem- 
stitched by  hand. 

FANCY  HANDKERCHIEF. 

No.  2.  This  machine  embroidered  handkerchief  is  finished  with 
a  narrow  lace  edging  sewed  en  by  hand. 

FANCY  HANDKERCHIEF. 

No.  3.  This  handkerchief  is  made  similar  to  the  one  shown  in  the 
lesson,  except  that  the  machine-made  hem  is  cut  down  to  half  its 
width  and  the  crocheting  done  over  the  remaining  half  of  the  hem. 

FANCY  HANDKERCHIEF. 

No.  4.  This  handkerchief  showrs  a  more  elaborate  crocheted 
edge  than  No.  3. 

HEMSTITCHED  HANDKERCHIEF. 

No.  5.  This  hand  hemstitched  handkerchief  is  also  decorated 
in  two  corners  with  two  rows  of  double  hemstitching. 

SCALLOPED  HANDKERCHIEF. 

No.  6.  This  handkerchief  is  made  with  hand  embroidered  scal- 
lops and  a  hand  embroidered  design  in  one  corner. 


147 

WORKING  DIRECTIONS  FOR  FANCY  HANDKERCHIEF 
PREPARING  MATERIAL. 

If  necessary,  straighten  two  adjoining  edges  of  the  material. 
Measure  on  each  edge  11"  the  width  and  length  of  the  handkerchief. 
Draw  one  thread  crosswise,  another  lengthwise;  cut  on  the  lines. 

PREPARING  HEM  FOR  CROCHETING. 

The  crocheted  edge  on  this  handkerchief  is  made  over  a  tiny  hem 
laid  around  the  edges.  This  hem  should  be  very  narrow  (about  %" 
to  3/16"  wide)  to  give  the  crocheted  edge  a  dainty  appearance.  As 
one  thread  is  to  be  drawn  to  help  you  to  keep  the  bottom  of  the 
hem  straight  and  the  crocheting  even,  measure  down  about  %"  from 
one  edge  and  draw  a  thread.  In  the  same  manner  draw  a  thread  %" 
from  each  of  the  other  three  edges.  On  one  edge  fold  a  hem  with  a 
narrow  first  turning  even  with  the  line  left  by  drawing  the  thread. 
Fold  and  crease  a  similar  hem  on  the  other  three  edges.  Baste  the 
hems  in  place  with  even  basting  (Chap.  II,  Par.  103). 

CROCHETING   THE    EDGE. 

x 

While  very  fine  crochet  cotton  may  be  used  to  crochet  this  edge, 
a  fine  mercerized  embroidery  cotton  is  preferable.  The  6-strand 
D.  M.  C.  cotton  suggested  in  the  materials  will  be  found  very  satis- 
factory. Before  using  it,  unwind  it  from  the  skein  and  wrap  it  on  a 
small  roll  of  paper,  or  an  empty  spool.  You  are  to  use  but  one  of 
these  strands  for  your  crocheting.  This  strand  should  be  saparated 
from  the  others  and  wound  on  a  separate  roll  before  you  begin  to 
crochet. 

The  crocheted  edge  suggested  for  this  handkerchief  consists  of 
about  12  double  crochets  drawn  through  the  line  at  the  bottom  of  tnc 
hem  over  the  edge,  one  picot  (a  loop  of  chain  stitches),  12  more 
crochets,  another  picot  and  so  on  around  the  four  edges  of  the  hand- 
kerchief. 

To  make  this  crocheted  edge,  insert  the  point  of  the  hook  through 
the  material  on  the  line  left  by  drawing  the  thread;  draw  a  loop  of 
the  crochet  thread  through  the  material;  draw  another  loop  of  thread 
through  this  one  at  the  edge  of  the  hem;  then  make  12  double  crochets 
(Chap.  II,  Par.  157),  drawing  the  thread  through  the  line  at  the 
bottom  of  the  hem  and  finishing  the  stitch  on  the  edge  of  the  hem 


148 

each  time;  make  a  picot.  To  make  the  picot,  make  4  chain  stitches 
(Chap.  II,  Par.  155)  and  fasten  the  last  chain  stitch  into  the  last  double 
crochet  with  a  slip  stitch  (Chap.  II,  Par.  156);  continue  making  the 
double  crocheting  as  before  until  you  have  made  12,  then  make  an- 
other picot.  Continue  in  this  manner  around  the  four  edges  of  the 
handkerchief.  Fasten  the  last  stitch  by  drawing  a  loop  of  the  thread 
through  the  first  double  crochet,  then  the  end  of  the -thread  through 
this,  thus  tying  a  knot. 


149 


CORSET  COVER 

MATERIALS. 

1*4  yards  all-over  embroid- 
ery. 

1  strip  lawn  3"  wide  and 
length  of  waist  measure 
plus  2". 

3  snaps. 

1  hook  and  eye,  or 
3  buttons. 

3/4  yard  embroidery  beading. 

2  yards   ribbon   or   lingerie 
tape. 

Thread  No.  80. 
Needle  No.  9. 


INTRODUCTORY  STATEMENT. 

Now-a-days  the  fabrics  used  in  making  separate  wash  wraists  are 
so  sheer  that  it  is  very  necessary  to  wear  pretty  lingerie  under  them. 
All-over  embroidery,  wide  embroidery,  or  lace  edging  made  for  this 
purpose  with  eyelets  near  the  edge  through  w^hich  to  run  ribbon 
makes  a  very  effective  corset  cover  and  is  very  easily  made. 

In  selecting  embroidery  for  this  purpose,  examine  the  edge  and 
see  that  it  is  firm,  as  a  poor  edge  will  wear  off  ragged  in  a  compara- 
tively short  time.  The  corset  cover  may  be  combined  with  drawers  in 
a  combination  suit. 

The  corset  cover  shown  in  this  lesson  is  made  of  embroidery 
edging.  If  it  is  not  joined  to  drawers  to  form  a  combination  suit,  it 
may  be  finished  with  a  peplum  to  keep  it  from  slipping  up  on  the 
corset.  This  is  left  to  the  option  of  the  wearer. 


References: 

Embroidery,  W.  G.  Townsend. 

Dress   Design,  Hughes.     Manual  Arts  Press. 


150 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SLIP-OVER  CORSET  COVER. 

No.  1.  This  corset  cover  is  made  of  one  straight  strip  of  em- 
broidery curved  out  slightly  under  the  arms  and  held  on  the  shoulders 
with  straps  of  embroidery  beading.  It  hangs  loose  below  the  waist 

line. 

CREPE  DE  CHINE  CORSET  COVER. 

No.  2.  This  corset  cover  is  very  attractive  under  a  thin  waist, 
the  lace  sleeves  being  very  desirable.  The  bottom  is  finished  with  an 
elastic  band.  It  may  be  made  in  much  the  same  manner  as  the  corset 
cover  described  in  this  lesson. 

LACE  CORSET  COVER. 

No.  3.  This  corset  cover  is  made  of  wide  lace  flouncing  designed 
especially  for  this  purpose.  It  is  fitted  slightly  under  the  arms  with 
seams  and  held  in  place  on  the  shoulders  with  straps  of  ribbon. 

ALL-OVER  EMBROIDERY  CORSET  COVER. 
No.  4.  This  corset  cover  is  made  from  one  strip  of  all-over 
embroidery,  fitted  at  the  shoulders  and  curved  out  to  fit  the  neck. 
The  bands  which  finish  each  end  cross  at  the  waist  line  and  button 
at  the  ends  to  fit  the  waist.  A  commercial  pattern  may  be  used  for 
this  if  necessary. 


151 

WORKING  DIRECTIONS  FOR  CORSET  COVER 

PREPARING  MATERIAL. 

Shrink  the  embroidery  and  the  lawn  for  the  band  by  wetting 
them  thoroughly,  partly  drying  and  then  pressing  them.  Straighten 
the  two  ends  of  the  embroidery  (Chap.  II,  Par.  102).  Cut  a  length- 
wise strip  of  lawn  3"  wide  and  2"  longer  than  the  waist  measure 
of  the  band. 

THE  PATTERN. 

This  corset  cover  is  held  on  the  shoulders  with  straps  of  em- 
broidery beading,  the  scalloped  edge  of  the  embroidery  forming  the 
top  edge  of  the  garment.  By  modifying  it  slightly,  a  regular  corset 
cover  pattern  with  gathered  front  may  be  used  in  cutting  out  this 
corset  cover.  Use  a  commercial  pattern,  fitting  it  to  you  carefully.  You 
are  to  make  the  top  edge  of  your  corset  cover  pattern  straight.  To  do 
this,  hold  it  up  to  the  body  and  turn  the  upper  edge  under,  forming 
a  straight  line  across  the  top  of  both  the  front  and  the  back  of  the 
pattern,  the  distance  desired  from  the  neck. 

TO  CUT  OUT  CORSET  COVER. 

Fold  the  ends  of  the  embroidery  together  evenly,  then  lay  the 
center  back  of  the  pattern  on  the  fold  formed,  with  the  straight  edge 
at  the  top  of  the  pattern  even  with  the  scalloped  edge  of  the  em- 
broidery. Pin  it  in  several  places.  Lay  the  center  front  of  the  pattern 
on  the  front  edges  of  the  material  or,  if  more  fullness  than  the 
pattern  allows  is  needed,  place  the  pattern  in  from  the  edges  as  far  as 
necessary  to  provide  for  the  extra  fullness.  Cut  out  the  corset  cover. 

JOINING  SEAMS,  FINISHING  ARMHOLES. 

A  French  seam  (Chap.  II,  Par.  137),  or  felled  seam  (Chap.  II, 
Par.  138)  may  be  used  to  join  the  under-arm  seam.  Baste  the  under- 
arm seams  together  and  finish  with  the  seam  desired.  Face  the  curve 
in  each  arm  hole  with  a  bias  strip  of  lawn  about  IVk"  wide  (Chap.  II, 
Par.  143).  To  sew  on  the  facing,  let  the  end  extend  a  trifle  above  the 
curve  of  the  arm  hole,  lay  it  on  the  right  side  of  the  embroidery  and 
first  baste,  then  stitch  in  place  with  a  1A"  seam,  holding  it  rather  easy 
around  the  curve  (Chap.  II,  Par.  164).  (If  sewed  by  hand  use  the 
combination  stitch)  (Chap.  II,  Par.  108).  Turn  the  facing  to  the 
wrong  side,  baste  along  the  folded  edge,  turn  under  the  raw  edge, 
baste  (stretching  it  if  necessary),  and  sew  to  the  corset  cover  with 
the  hemming  stitch  (Chap.  II,  Par.  114),  or  stitch  on  the  machine 


152 

(Chap.  II,  Par.  164);  turn  the  raw  edges  under  at  the  ends  and  hem 
neatly.  Pin  or  baste  the  straps  on  the  top  of  the  corset  cover  as  in 
the  illustration.  Turn  in  a  V2"  hem  at  the  front  edge. 

GATHERING  BOTTOM  OF  CORSET  COVER. 

Mark  the  center  back  with  a  pin  at  the  lower  edge.  Gather  the 
material  along  this  edge  to  within  2"  of  each  under-arm  seam  (Chap. 
II,  Par.  141).  Adjust  the  gathers  to  make  the  bottom  of  back  about 
9"  or  10"  wide  between  the  under-arm  seams. 

Beginning  2V2*  from  the  under-arm  seams,  gather  the  front  pieces 
along  the  lower  edge  to  the  hems  on  the  front.  Adjust  the  gathers  so 
the  bottom  of  the  corset  cover  will  be  the  same  size  as  the  waist 
measure,  allowing  1"  extra  for  the  lapping  of  the  band  in  front. 

PUTTING  ON  THE  BAND. 

Crease  center  of  band  crosswise,  place  on  the  wrong  side  of  the 
corset  cover  with  the  crease  even  with  the  center  back.  Turn  in  each 
end  of  the  band  Vk"  and  pin  even  with  the  front  edges  of  the  corset 
cover  turning  the  seams  toward  the  right  side,  pin  the  band  to  the 
corset  cover  in  several  places.  Try  on;  adjust  gathers  and  straps  on 
shoulders;  baste  and  stitch  the  band  and  straps  in  place.  Turn  in 
the  other  raw  edge  of  the  band  and  fold  it  onto  the  corset  cover 
just  a  trifle  beyond  the  first  stitching.  Pin  and  baste  in  place.  If  a 
peplum  is  desired,  attach  it  now.  Drawers  may  be  combined  writh 
the  corset  cover  by  splitting  the  bottom  edge  of  the  band  and  sewing 
it  to  the  drawers  the  same  as  you  have  sewed  it  to  the  corset  cover. 
Stitch  the  band  to  the  corset  cover,  and  peplum  or  drawers.  If 
these  are  not  attached,  stitch  all  the  way  around  the  band.  Remove 

all  bastings. 

FASTENINGS. 

You  may  sew  three  snaps  on  the  hems  and  one  hook  and  eye  on 
the  band  (Chap.  II,  Par.  133)  over-lapping  the  band  and  hems  on  the 
front;  or  buttons  and  buttonholes  may  be  used  placing  two  button- 
holes in  the  center  of  the  right  hem  and  one  crosswise  in  the  band 
(Chap.  II,  Par.  136);  sew  on  buttons  to  correspond  with  the  but- 
tonholes. 


153 

REVIEW  QUESTIONS  AND   PROBLEMS. 

1.  What  material  is  most  suitable  for  a  traveling  case?    What 
is  it  worth  per  yard? 

2.  How  can  you  tell  whether  so-called  "table  linen"  is  really 
linen  or  cotton? 

3.  Why  is  linen  preferable  to  cotton  for  table  cloths  and  napkins? 

4.  What  treatment  is  sometimes  applied  to  cotton  in  order  to 
give  it  the  appearance  of  linen? 

5.  Inquire  at  your  local  dry  goods  stores  and  compare  the  cost 
per  yard  of  genuine  table  linen  and  cotton. 

6.  What  kind  of  material  is  most  suitable  for  a  shop  apron? 
Why? 

7.  For  what  reasons  should  an  ironing  board  have  a  cover? 
What  material  is  suitable  for  this  purpose? 

8.  What  points  may  be  necessary  in  a  clothes  pin  bag  but  not 
required  in  a  school  bag? 

9.  What  material  would  you  use  for  a  clothes  pin  bag? 

10.     Explain  a  method  for  laying  out  the  scallops  on  a  scalloped 
towel.    What  common  articles  about  the  home  may  serve  this  purpose? 

11.  What  is  the  purpose  of  a  sewing  apron? 

12.  What  must  you  watch  most  carefully  in  order  to  make  an 
excellent  running  stitch? 

13.  How  do  you  explain  the  fact  that  most  of  our  mothers  and 
grandmothers  were  able  to  do  such  beautiful  plain  sewing  by  hand? 

14.  Explain  two  ways  in  which  bedroom  slippers  may  be  made. 
Which  do  you  prefer?    Why? 

15.  What  sort  of  material  would  you  select  for  a  fancy  hand- 
made handkerchief? 

16.  Design,  draw  and  explain  how  you  could  make  an  attractive 
handkerchief. 

17.  What  stitches  are  used  in  making  the  corset  cover  given  in 
this  section?    What  other  projects  have  you  made  employing  those 
same  stitches? 

18.  What  processes  have  you  learned  from  these  lessons  which 
you  can  use  in  your  home  work? 


154 

SUGGESTIONS  FOR  HOME  APPLICATION. 

1.  While  it  is  very  necessary  for  the  beginner  to  baste  seams, 
hems,  etc.,  before  stitching  them  permanently,  the  skilled  seamstress 
saves  a  great  deal  of  time  by  pinning  raw  edges  together  and  stitching 
them  without  basting.     It  requires  considerable  practice  to  be  able 
to  do  this  successfully. 

Using  a  piece  of  wash  goods  that  you  already  have  on  hand,  make 
a  pair  of  sleevelets  similar  to  those  given  in  this  section,  without 
basting  them.  Time  yourself,  do  your  work  carefully,  and  compare 
the  results  with  work  done  where  you  have  basted  carefully  before 
stitching. 

2.  Stenciling  is  used  quite  commonly  for  decorating  curtains, 
sofa  pillows,  table  runners  and  many  other  similar  articles  in  the 
home.    Make  your  own  design  and  stencil  a  sofa  pillow,  the  curtains 
for  your  room,  or  a  table  runner  for  a  Christmas  gift. 

3.  Sort  out  the  stockings  which  are  too  badly  worn  for  further 
use.    Cut  off  the  feet,  cut  open  the  legs  and  join  the  narrow  part  ot 
one  to  the  wide  part  of  another,  forming  a  square,  or  oblong.    Hem 
the  joined  pieces  on  the  edges  with  the  sewing  machine  and  use  for 
stove  cloths;  if  saturated  with  furniture  polish  they  will  also  make 
excellent  "dustless   dusters";   if  folded  in  quarters,   stitched   on  the 
edges  with  a  loop  or  ring  sewed  in  one  corner  for  hangers  they  may 
be  used  for  holders. 

4.  You   may  make   an   excellent   broom   cover   out   of   a   worn 
Turkish  towel.    This  may  be  used  in  dusting  hardwood  floors,  base 
boards,  walls  or  the  tops  of  doors,  or  window  frames.    To  make  this 
cover,  patch  the  towel  if  necessary,  cut  off  the  fringe  if  there  is  any, 
fold  to  form  a  bag  and  stitch  it  together  on  the  sewing  machine. 
Sew  a  tape  on  one   side  near  the  top  with  which  to  tie  it  to  the 
broom  handle. 

After  you  have  completed  the  work  in  Section  III  you  have  prob- 
ably had  considerable  experience  in  the  use  of  the  sewing  machine. 
The  attachments  on  the  sewing  machine  add  greatly  to  its  value,  but 
it  requires  considerable  practice  to  use  them  successfully.  You  prob- 
ably have  a  book  of  directions  which  was  furnished  with  your  sewing 
machine;  study  it  carefully  for  it  explains  just  how  to  use  the 
different  attachments. 

The  hemmers  in  particular  are  used  to  very  great  advantage. 
Unthread. the  machine  and  practice  using  the  narrow  hemmer  on  a 
strip  of  material. 


155 

If  you  have  a  number  of  napkins  to  hem,  try  this  method  of 
quickening  the  work:  Place  the  small  hemmer  on  the  machine, 
place  the  edge  of  the  napkin  in  the  hemmer  and  fold  it  in  place  with 
the  hemmer  without  having  any  thread  in  the  machine,  then  double 
this  hem  back  on  the  right  side  of  the  napkin  and  overhand  it  as  usual. 

In  every  household  it  is  frequently  necessary  to  replace  worn  out 
articles  with  new.  By  careful  management  the  life  of  many  of  these 
worn  articles  may  be  prolonged  and  a  considerable  saving  may  be 
affected  thereby.  By  reading  the  suggestions  given  below  for  the 
care  of  linen  and  worn  sheets  and  discussing  the  matter  with  your 
mother,  you  may  be  able  to  assist  her  in  prolonging  the  life  of 
these  articles. 

SUGGESTIONS  FOR  CARE  OF  TABLE  LINEN. 

Remove  spots  and  mend  table  linen  before  laundering.  Place  the 
freshly  laundered  linen  at  the  bottom  of  the  linen  pile  and  thus  avoid 
using  the  same  pieces  constantly. 

Table  cloths  usually  wear  along  the  place  where  they  hang  over 
the  edge  of  the  table.  This  worn  space  may  be  cut  out  and  the  table 
cloth  rejoined  with  a  felled  or  lapped  seam.  This  seam  lying  on  the 
edge  of  the  table  will  be  scarcely  noticeable.  A  table  cloth  which  is 
too  badly  worn  to  be  repaired  in  this  manner  may  be  cut  in  pieces; 
the  badly  worn  pieces  should  be  saved  to  use  for  polishing  cloths; 
the  better  pieces  may  be  hemmed  and  used  for  lunch  cloths,  tray 
cloths,  doilies,  or  picnic  table  cloths. 

SUGGESTIONS  FOR  CARE  OF  WORN  SHEETS. 

A  sheet  which  is  worn  in  the  center  may  have  the  worn  piece 
torn  out;  the  selvage  edges  may  then  be  overhanded  together;  the 
torn  edges  should  be  hemmed  to  form  the  outside  edges  of  the  sheet. 
If  this  makes  the  sheet  too  narrow  for  a  full  sized  bed,  it  may  be  used 
on  a  single  bed,  or  a  cot. 

Another  way  of  using  a  worn  sheet  is  to  tear  it  in  strips  about 
36"  wide  and  as  long  as  the  end  of  a  comforter  or  quilt,  and  stitch 
the  ends  together  to  form  a  casing  which  may  be  slipped  over  the  ends 
of  the  comforter  to  keep  it  from  getting  soiled  (the  ends  of  the  com- 
forters become  soiled  before  the  other  parts). 

Worn  sheets  make  very  satisfactory  ironing  board  covers. 


156 


INTRODUCTION  TO  SECTION  IV 

THIS  section  presents  a  number  of  modifications  and  develop- 
ments of  the  elementary  processes  and  principles  set  forth  in 
the  preceding  sections.  Students  who  have  satisfactorily  com- 
pleted the  work  of  the  first  half  of  this  book,  or  its  equivalent,  should 
be  sufficiently  familiar  with  the  fundamentals  of  sewing  to  be  able 
to  exercise  considerable  judgment,  not  only  in  the  choice  of  projects 
to  be  undertaken,  but  also  in  modifying  those  projects  and  in  incor- 
porating original  ideas  and  personal  taste  in  the  designs. 

A  very  wide  range  of  ideas  is  presented  in  the  projects  of  this 
section  in  order  to  serve  as  a  sort  of  review  covering  practically  all 
of  the  different  principles  set  forth  thus  far.  It  also  gives  an  oppor- 
tunity for  considerable  choice  in  projects,  thus  making  it  possible  to 
appeal  to  the  individual  interest  of  every  member  of  the  class. 

Some  of  the  students  may  prefer  to  give  most  attention  to  the 
smaller  projects  which  deal  somewhat  with  art  needlework.  This 
section  offers  an  abundant  opportunity  for  that  kind  of  work.  The 
color  study  and  design  work  of  the  art  class  should  correlate  closely 
with  the  sewing  work. 

Others  may  desire  to  take  up  the  problems  of  garment  making. 
The  latter  portion  of  this  section  deals  entirely  with  that  phase  of  the 
work  introducing  some  of  the  elementary  principles  of  the  subject  and 
employing  them  on  garments  which  do  not  necessitate  absolutely 
accurate  use  of  patterns. 

In  order,  however,  to  lead  the  student  to  the  proper  understanding 
of  the  subject  of  patterns  and  their  functions,  references  are  made  to 
Chapter  IV,  and,  even  though  the  students  may  be  using  commercial 
patterns  for  the  projects  which  they  are  making,  they  should  turn  to 
these  references  and  acquaint  themselves  somewhat  writh  the  subject 
of  patterns  and  how  they  are  drafted  so  as  to  use  them  more  in- 
telligently. 


157 


SASH  CURTAINS 

MATERIALS. 

Lawn  (Chap.  I,  Par.  23)  or 
Mull  (Chap.  I,  Par.  26). 

Curtain  material  the  length 
of  window  plus  4y2"  for 
hems. 

Thread  No.  70. 

Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

Sash  curtains  are  used  to  cover  the  lower  sash  of  windows, 
usually  in  the  bathroom,  kitchen  and  pantry.  They  should  be  made 
long  enough  to  clear  the  window  casings,  rather  than  to  hang  below 
them.  An  extra  heading  about  1"  deep  may  be  basted  in  the  curtain 
when  it  is  made,  to  provide  for  shrinkage  when  the  curtain  is 
laundered. 

As  curtains  should  soften  the  light,  rather  than  exclude  it,  sheer 
materials  should  be  used  in  making  them;  wrhite  lawn,  cheese  cloth, 
voile  and  marquisette  are  the  materials  commonly  used.  The  latter 
three  are  suitable  for  stenciling.  The  dotted  mulls  and  embroidered 
muslins  make  very  pretty  curtains  and  require  no  further  decoration. 

The  curtain  presented  in  this  lesson  shows  the  method  ordinarily 
used  in  making  sash  curtains.  The  heading  at  the  top  is  used  to 
improve  its  appearance. 


References : 

Homes  and  Their  Decoration.  French.     Whitcomb  &  Barrows. 
Home  Decoration,  Warner.     Doubledaj',  Page  &  Co. 


158 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


EMBROIDERED  MULL  SASH  CURTAIN. 

No.  1.  Although  the  dotted  mull  makes  a  pretty  sash  curtain 
without  further  decoration,  the  row  of  dots  above  the  hem  may  be 
embroidered  in  colors  very  effectively  with  the  satin  stitch,  to  form 
a  border  across  the  lower  part  of  the  curtain. 

HEMSTITCHED  SASH  CURTAIN. 

No.  2.  This  is  one  of  a  pair  of  curtains;  it  is  finished  with  a 
hemstitched  hem  on  one  side  and  the  lower  end;  the  material  used 
is  curtain  voile. 


No.  3.  The  edges  of  this  dotted  mull  curtain  are  finished  with 
narrow  hems  and  colored  rickrack.  It  makes  a  pretty  bathroom 
curtain.  STENCILED  SASH  CURTAIN. 

No.  4.  The  stenciled  border  placed  above  the  hem  of  this  curtain 
makes  a  very  pretty  effect. 


159 

WORKING  DIRECTIONS  FOR  SASH  CURTAIN 

PREPARING  MATERIAL. 

As  curtain  material  shrinks  considerably  when  laundered,  it  is 
advisable  to  shrink  it  before  making  it  into  curtains.  To  do  this, 
wet  the  material  thoroughly,  hang  it  straight  on  the  line  until  par- 
tially dried,  then  iron  it  dry.  Measure  the  window  on  which  it  is  to 
be  hung  and  allow  the  amount  desired  for  the  hems  at  the  top  and 
bottom.  If  you  do  not  shrink  the  material,  allow  %"  extra  length  for 
shrinkage,  4  Ms"  wrere  allowed  for  hems  on  the  curtain  for  this  lesson. 

Straighten  one  end  of  the  material  (Chap.  II,  Par.  102)  and  meas- 
ure down  from  this  end  on  one  selvage  the  length  of  the  curtain. 
Draw  a  thread  crosswise  and  cut  on  the  line.  If  more  than  one  cur- 
tain is  to  be  made,  cut  out  the  others  in  the  same  manner.  (If  they 
are  to  be  hung  in  pairs  or  in  the  same  room,  be  careful  to  make  them 
exactly  the  same  length). 

FINISHING  THE  LONG  EDGES  OF   THE   CURTAIN. 

As  the  sash  curtain  is  to  be  made  the  full  width  of  the  material, 
the  selvages  may  be  used  to  finish  the  long  edges,  if  desired.  If  there 
are  to  be  two  sash  curtains  at  the  window  the  inside  edges  of  each 
curtain  may  be  finished  with  narrow  lace.  To  finish  the  edge  with 
lace,  cut  off  the  selvage,  fold,  baste,  and  stitch  a  narrow  hem  in  place 
on  the  sewing  machine.  Overhand  the  lace  on  this  edge  (Chap.  II, 
Par.  112),  or  baste  it  flat  on  the  edge  and  stitch  it  on  the  sewing  ma- 
chine (Chap.  II,  Par.  164)  (make  the  top  tension  a  little  loose  to 
prevent  puckering  on  the  edge),  or  sew  with  running  stitches.  The 
outside  edge  may  be  finished  in  like  manner,  if  desired. 

The  long  edges  can  also  be  finished  with  hemstitched  hems. 
These  may  be  made  l1/^"  wide.  To  make  them,  trim  off  the  selvage, 
and  follow  the  directions  for  single  or  double  hemstitching  (Chap. 
II,  Par.  115  or  116). 

The  selvages  are  left  on  to  finish  the  long  edges  of  the  curtain 
shown  in  the  illustration. 

FINISHING  THE  LOWER  END. 

The  lower  end  of  the  sash  curtain  is  usually  finished  with  a  hem 
about  2"  wide.  This  hem  may  be  stitched  on  the  sewing  machine, 
hemstitched,  or  finished  with  featherstitching  (Chap.  II,  Par.  121,  122, 
123).  If  the  end  of  the  curtain  is  finished  with  rickrack,  or  lace,  the 
same  as  the  long  edges,  the  hem  should  be  made  narrow  to  corres- 


160 

pond  with  the  hems  on  the  edges;  the  lace  or  other  trimming  should 
be  sewed  on  in  a  continuous  seam  around  the  bottom  and  adjoining 
edges.  The  hem  on  the  curtain  shown  in  the  illustration  is  made  2" 
wide;  it  is  sewed  in  place  with  machine  stitching. 

MAKING  THE  CASING  AT  THE  TOP. 

The  hem  at  the  top  of  the  curtain  may  be  made  wide  enough  to 
form  a  casing  through  which  to  run  the  curtain  rod  (about  %"  to  %" 
wide).  A  casing  is  usually  placed  in  the  hem,  however;  the  remainder 
of  the  hem  is  to  form  a  heading.  To  make  the  top  hem  with  a  casing, 
fold  and  baste  a  hem  the  width  desired  at  the  top  of  the  curtain  (2V2" 
is  allowed  on  the  curtain  in  this  lesson).  If  the  material  has  not  been 
shrunk,  measure  up  from  the  basted  edge  of  the  hem  the  desired 
width  for  a  temporary  casing  (%").  Make  a  row  of  running  stitches 
parallel  with  the  edge  of  the  hem.  Measure  up  1/2"  above  this  and 
make  a  row  of  machine  stitching  for  the  top  of  a  permanent  casing 
parallel  with  the  edge  of  the  hem.  Stitch  the  hem  in  place,  or  sew  in 
place  with  hemming  stitches  (if  the  material  has  been  shrunk,  make 
the  hem  %"  narrower  and  make  only  one  casing). 


161 


LAUNDRY  BAG 

MATERIALS. 
Denim  (Chap.  I,  Par.  14). 

2/3  yard  denim. 

1  ruler  12"  long  or  piece  of 

window  stick. 
14"  cotton  tape. 
1  yard  mercerized  braid. 
White  embroidery  cotton. 
Embroidery  needle. 
Thread  to  match  denim. 


INTRODUCTORY  STATEMENT. 

As  the  laundry  work  of  the  household  is  usually  done  but  once 
a  week,  a  place  should  be  provided  for  the  soiled  clothes  which  collect 
during  this  time.  In  many  houses  a  laundry  chute  is  provided  which 
carries  the  clothes  to  a  receptacle  in  the  laundry.  If  you  have  no 
laundry  chute,  laundry  bags,  which  can  be  emptied  at  the  end  of  the 
week,  or  on  wash  day,  will  be  found  very  convenient. 

As  the  laundry  bag  will  have  to  sustain  considerable  weight,  it 
should  be  made  of  firm  material  and  should  be  large  enough  to  hold 
at  least  a  week's  laundry  for  one  person;  galatea,  cretonne,  denim  or 
Indian  Head  are  very  satisfactory  materials  to  use. 

While  a  bag  with  draw  strings  at  the  top  might  be  used,  it  is 
somewhat  inconvenient  to  open  the  mouth  of  such  a  bag  each  time 
you  wish  to  place  a  soiled  garment  in  it. 

The  laundry  bag  shown  in  this  lesson  will  be  found  very  con- 
venient as  the  top  is  always  open  ready  to  receive  the  soiled  clothes. 
The  simple  design  used  in  ornamenting  it  is  in  keeping  with  the  pur- 
pose of  the  bag. 


References: 

Care   of   the   House,   Clark.     Vv'hitcomb   &    Barrows. 
Laundry  Work  in  Theory  and  Practice,  Marsh. 


162 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


CRETONNE  LAUNDRY  BAG. 

No.  1.     This  bag  is  made  with  draw  strings  to  close  the  top. 
is  made  of  cretonne  and  is  18"  wide  and  27"  long. 


It 


LAUNDRY  BAG. 

No.  2.  This  laundry  bag  is  shaped  like  an  ordinary  school  bag  but 
is  somewhat  larger.  It  is  held  open  at  the  top  with  a  large  embroid- 
ery hoop  over  which  the  material  is  hemmed,  and  slightly  gathered. 

DARNING  BAG. 

No.  3.  This  bag  is  made  of  cretonne.  One  side  has  a  small  piece 
gathered  on  it  to  form  a  pocket  for  the  darning  cotton.  The  other 
side  has  a  flap  sewed  on  it;  under  this  flap,  oblong  pieces  of  outing 
flannel  are  fastened  for  the  darning  needles.  The  draw  strings  are 
run  through  ivory  rings. 

WHITE  LAUNDRY  BAG. 

No.  4.  This  laundry  bag  is  made  the  same  as  No.  2  except  that 
it  is  about  twice  as  large.  It  is  ornamented  with  a  band  of  filet 
crocheted  insertion. 


163 

\X'ORKING  DIRECTIONS  FOR  LAUNDRY  BAG 

PREPARING  MATERIAL. 

Straighten  one  end  of  the  material  (Chap.  II,  Par.  102) ;  measure 
down  on  the  selvage  24"  (the  length  of  the  laundry  bag);  draw  a 
thread  crosswise  and  cut  on  the  line.  This  bag  consists  of  two  pieces, 
the  front  and  the  back;  each  is  made  from  one-half  of  this  strip  of 
material.  To  divide  the  material,  fold  the  selvage  edges  together 
evenly;  crease  on  the  fold  formed  and  cut  on  the  crease.  As  the  front 
piece  is  shorter  than  the  back  piece,  cut  a  strip  l%"  wide  off  one 
end  of  it. 

SHAPING  THE  FRONT  OF  THE  BAG. 

You  will  notice  in  the  illustration  that  the  front  of  the  bag  is 
curved  out  at  the  top.  To  do  this,  fold  the  front  piece  in  the  center, 
lengthwise;  pin  it  to  keep  it  from  slipping.  On  the  fold,  measure 
down  from  one  end  8"  (call  this  the  top) ;  mark  the  point  with  crayon 
or  a  pin,  measure  in  from  the  unfolded  edge  on  the  same  end  of  thfe 
material,  2V2";  mark  with  a  pin  or  crayon.  With  a  piece  of  sharp- 
ened crayon  connect  the  two  points  with  an  inward  curving  line; 
following  this  line,  cut  out  the  curve. 

| 
FACING  THE  CURVED  EDGE. 

The  curved  edge  is  faced  with  a  bias  strip  l^"  wide.  This  strip 
may  be  cut  from  the  material  which  was  cut  out  of  the  curved  end 
of  the  front.  Cut,  and  if  necessary,  join  several  bias  strips  to  make  a 
facing  long  enough  to  reach  around  the  curve  (Chap.  II,  Par.  143-144). 
To  sew  on  the  bias  facing,  let  one  end  extend  slightly  above  the  curve ; 
place  one  edge  even  with  the  edge  of  the  curve  on  the  right  side  of 
the  material  and  baste  it  in  place  with  even  basting,  holding  it  slightly 
full  around  the  curve.  Turn  the  facing  to  the  wrong  side,  baste  along 
the  stitched  edge,  turn  under  the  other  raw  edge,  baste  it  in  place  and 
stitch,  or  hem  by  hand.  (Stretch  it  around  the  curve  if  necessary  to 
make  it  lie  flat). 

JOINING  THE  BAG. 

Place  the  right  side  of  the  front  and  the  back  of  the  bag  together 
with  the  straight  edges  even.  Baste  and  stitch  these  edges  together 
with  a  half-inch  seam.  Overcast  the  raw  edges. 

TO  FORM  CASING. 

At  the  top  of  the  bag  a  casing  is  to  be  formed  to  hold  a  stick  on 
which  the  fullness  of  the  bag  is  adjusted. 


164 

ATTACHING  CASING  TO  THE  STICK. 

Fold  the  top  of  the  piece  toward  the  front  !3/4",  turn  in  the  raw 
edge,  baste  and  stitch  in  place.  This  casing  is  simply  a  wide  hem. 
In  order  to  hold  the  gathers  in  place,  it  is  necessary  to  fasten  the 
ends  of  the  casing  to  the  stick.  To  do  this,  cut  notches  Vk"  deep  on 
the  top  and  bottom  edges  of  the  stick  ty"  from  each  end.  Wrap  the 
stick  several  times  with  thread  in  these  notches.  Fasten  the  thread 
securely.  Turn  under  the  edge  and  sew  one  end  of  a  piece  of  cotton 
tape  14"  long  to  the  thread  in  first  notch;  bring  it  over  both  ends  of 
the  stick  to  the  other  threads  wrapped  in  the  notches  and  sew  it 
securely. 

Insert  the  stick  in  the  casing  and  overhand  the  ends  of  the  casing 
catching  the  stitches  through  the  tape  on  the  ends  of  the  stick.  Adjust 
the  fullness  evenly  on  the  stick. 

THE   HANGER. 

Make  a  loop  at  each  end  of  the  mercerized  tape  and  sew  it  to  the 
top  corner  of  the  laundry  bag  to  form  a  hanger,  as  shown  in  the 
illustration. 

THE  DESIGN. 

The  letters  for  the  design  may  be  drawn  on  a  piece  of  paper  and 
transferred  to  the  laundry  bag  with  carbon  paper;  trace  over  letters 
with  sharpened  crayon.  A  commercial  pattern  may  be  used  if  desired. 
If  a  commercial  pattern  is  used,  select  one  in  which  the  design  is 
stamped  in  yellow  (the  yellow  design  will  show  more  clearly  on  dark 
material).  Work  the  letters  with  the  satin  stitch  (Chap.  II,  Par.  131). 


165 


PILLOW  CASE 

MATERIALS. 
Muslin  (Chap.  I,  Par.  27). 

1  yard  muslin,  width  desired 
for  length  of  pillow  case, 
or 

1  yard  pillow  tubing. 
Thread  No.  70. 
Needle  No.  8. 
Embroidery  cotton. 
Padding  cotton. 
Embroidery  needle. 


INTRODUCTORY  STATEMENT. 

Pillow  cases  are  counted  among  the  household  necessities.  They 
not  only  preserve  the  life  of  the  pillows  by  protecting  them  from 
wear,  but  also  make  it  possible  for  the  head  to  have  a  clean  place  on 
which  to  rest,  for  they  can  be  changed  as  frequently  as  necessary. 

Pillow  cases  may  be  made  from  unbleached  muslin,  the  muslin 
being  formed  into  a  bag-like  case,  with  a  seam  at  one  end  and  side 
and  a  hem  at  the  open  end.  Cheap,  white  muslin  may  be  used  in  the 
same  manner.  The  better  grades  of  muslin  are  woven  into  pillow 
tubing  of  different  widths.  Linen  is  also  used  in  making  fine  pillow 
cases;  for  pillow  cases  on  which  fine  handwork  is  to  be  done,  linen 
is  especially  desirable. 

While  pillow  cases  may  be  made  with  a  machine  hem,  the  pillow/ 
case  shown  in  this  lesson  is  an  example  of  one  of  the  attractive  ways 
in  which  they  may  be  ornamented  with  handwork. 


References: 

The  Furnishing  of  a  Modest  Home,  Daniels.     Atkinsoi:,  Mertzer  &   Grover. 
Some  Principles  of  Every-day  Art,  L.  F.  Day.     Scribner. 


166 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


EMBROIDERED  PILLOW  CASE. 

No.  1.  The  end  of  this  pillow  case  is  finished  with  a  fancy  scal- 
loped edge.  The  embroidered  design  is  worked  with  the  satin  stitch. 

FANCY  PILLOW  CASE. 

No.  2.  Coronation  braid  may  be  combined  with  crocheting 
stitches  to  form  a  band  of  insertion;  this  makes  very  attractive  trim- 
ming for  a  pillow  case.  The  monogram  placed  above  the  insertion 
is  embroidered  with  the  satin  stitch. 

FANCY  PILLOW  CASE. 

No.  3.  The  end  of  this  pillow  case  is  finished  with  narrow  cro- 
cheted edging.  The  monogram  placed  above  it  is  worked  the  same 
as  in  No.  2. 

FANCY  PILLOW  CASE. 

No.  4.  The  crocheted  insertion  set  above  the  hem  of  this  pillow 
case  was  made  on  a  hair  pin;  it  is  called  hair  pin  lace.  The  lowrer 
edge  of  the  hem  is  finished  with  a  crocheted  scallop. 


167 
WORKING  DIRECTIONS  FOR  PILLOW  CASE 

PREPARING  MATERIAL. 
Straighten  the  ends  of  the  material  (Chap.  II,  Par.  102). 

JOINING  SEAMS. 

If  a  straight  piece  of  muslin  is  used  for  the  pillow  case  it  will 
be  necessary  to  join  it  on  one  side  as  well  as  the  bottom,.  The  most 
desirable  way  to  join  the  side  of  the  pillow  case  is  to  lay  the  two 
selvage  edges  together  evenly,  baste,  and  stitch  them  with  a  1A"  seam, 
or  turn  the  selvages  back  about  *4"  and  overhand  a  seam.  The  bot- 
tom of  the  pillow  case  should  be  finished  with  an  overcast  seam,  or 
stitched  on  the  sewing  machine.  Fold  the  material  in  the  middle 
making  the  selvage  edges  exactly  even  (to  form  the  side  seam),  stitch 
the  side  and  the  bottom  making  it  a  *4''  seam;  overcast  the  raw  edges 
at  the  bottom.  These  edges  may  be  joined  by  hand  if  desired.  To 
do  this,  turn  the  edges  back  %"  on  wrong  side  of  the  material  and 
make  an  overhand  seam  (Chap.  II,  Par.  110).  Overcast  the  edges  in 
the  same  manner  as  for  the  stitched  seam. 

If  pillow  tubing  is  used,  make  a  1/4"  seam  at  the  bottom  only. 
Stitch  with  the  sewing  machine,  or  overhand  as  suggested  above. 
Overcast  the  raw  edges. 

FINISHING  THE  OPEN  END. 

The  open  end  is  finished  with  a  hem  from  2"  to  S1/^"  wide.  This 
hem  may  vary  in  width  tc  suit  personal  taste.  It  may  be  stitched  on 
the  sewing  machine  or  hemmed  by  hand.  The  pillow  case  shown  in 
the  illustration  is  finished  with  a  double  hemstitched  hem.  To  make 
this  hem,  measure  up  twice  the  width  desired  for  the  hem  plus  *4"  for 
the  first  turning;  draw  a  thread.  Draw  three  or  four  more  threads 
toward  the  center  of  the  pillow  case,  fold  and  baste  the  hem  in  place 
even  with  the  edge  of  the  drawn  thread  (Chap.  II,  Par.  103);  double 
hemstitch  in  place  (Chap.  II,  Par.  116). 

TO  SET  IN  INSERTION  (IF  DESIRED). 

It  may  be  desirable  to  trim  the  pillow  case  above  the  hem  with  a 
band  of  crocheted  insertion  or  with  tatting.  To  do  this,  after  straight- 
ening the  edge  of  the  material  on  the  end  of  the  pillow  case  and 
sewing  up  the  side  seam,  cut  a  strip  off  the  end  twice  as  wide  as  the 
width  desired  for  the  hem,  plus  W  for  under  turnings.  On  the  piece 
cut  off  turn  under  the  raw  edges  y4"  toward  the  wrong  side,  fold 
these  edges  together  evenly  and  baste  with  even  basting.  Make  a 


168 

narrow  hem  on  the  open  end  of  the  pillow  case,  turning  it  to  the 
wrong  side.  Join  the  insertion  at  the  end  if  necessary  and  overhand 
one  edge  to  the  end  of  the  pillow  case  (Chap.  II,  Par.  112).  The  part 
cut  off  is  to  be  set  onto  the  insertion.  Be  careful  to  keep  the  seam 
of  this  piece  even  with  the  side  seam  of  the  pillow  case ;  overhand  the 
lace  to  the  basted  edge  of  this  strip.  Remove  bastings. 

THE  INITIAL. 

The  initial  used  on  the  pillow  case  should  be  rather  large;  that 
is,  from  2"  to  2l/2"  long.  It  is  placed  about  y2"  to  1"  above  the  hem, 
in  the  center  of  the  pillow  case.  You  may  use  a  commercial  pattern, 
or,  you  may  design  your  own  letter.  If  a  commercial  pattern  is  used, 
place  it  rough  side  down,  on  the  desired  position  and  press  it  with  a 
hot  iron.  Remove  the  pattern  and  work  the  initial.  If  you  use  your 
own  design,  transfer  it  with  carbon  paper.  Use  carbon  paper  a  trille 
larger  than  the  initial;  place  it  carbon  side  down  on  the  pillow  case, 
place  the  initial  over  it,  pin  in  several  places  to  keep  it  from  slipping; 
with  lead  pencil  trace  around  the  initial.  Remove  the  pattern  and 
carbon  paper  and  work  the  design. 

To  work  the  initial,  pad  it,  rounding  it  slightly  in  the  center,  and 
work  it  with  the  satin  stitch  (Chap.  II,  Par.  131). 


169 


SOFA  PILLOW  COVER 


*      <«•    -j>  .  o^ymitz-o  «--?~*-     * 

mww 


MATERIALS. 

Linen  (Chap.  I,  Par.  40),  in 
natural  color. 

32"  art  linen,  22"  wide. 
32"  linen  fringe. 
Embroidery  cotton. 
Embroidery  needle. 
Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

The  sofa  pillow  is  particularly  suggestive  of  comfort  and  should 
be  used  for  that  purpose  rather  than  for  an  ornamental  one.  How- 
ever, if  its  cover  is  made  of  pretty  cretonne,  or  decorated  with  hand 
embroidery  which  harmonizes  with  the  color  scheme  of  the  room,  it 
will  add  a  decided  touch  of  beauty  to  it.  Harsh,  stiff  materials  should 
be  avoided  in  making  a  pillow.  Any  kind  of  decoration  which  makes 
it  uncomfortable  for  the  head  to  rest  upon,  is  in  poor  taste. 

A  pillow  with  a  bright  cover  is  suitable  for  a  room  with  plain 
curtains  and  rug  which  needs  a  bit  of  color  to  brighten  it.  If  the 
curtains,  the  wall  paper,  and  the  rug  have  considerable  design  in 
them,  the  sofa  pillows  should  be  plain  or  they  will  give  a  spotty  ap- 
pearance to  the  room. 

In  selecting  your  material  and  designs  for  this  pillow  carefully 
consider  the  room  in  which  it  is  to  be  used. 


References : 

Home  Decoration,  Ohio  State  University  Extension  Bulletin. 

Art  and  Economy  in  Home  Decoration,  Priestman.     Whitcomb  &   Barrows. 


170 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


CRASH  PILLOW  COVER. 

No.  1.  This  pillow  cover  is  made  about  the  same  as  the  one 
described  in  the  lesson;  the  embroidered  design  is  different,  but  the 
same  stitches  are  employed  in  making  it. 

COLLEGE  PILLOW. 

No.  2.  This  pillow  is  made  of  two  shades  of  felt  (the  college 
colors).  The  designs  and  letters  are  cut  out  of  felt  and  stitched  to 
the  top  of  the  cover.  The  edges  are  laced  together  with  strips  of 

the  felt*  COLLEGE  PILLOW. 

No.  3.  This  pillow  is  also  made  of  felt;  the  college  colors  are 
used,  but  are  combined  in  a  different  manner  than  in  No.  2. 

MONOGRAM  PILLOW. 

No.  4.  On  this  felt  pillow  cover  the  monogram  of  the  college  cut 
out  of  felt  is  used  to  decorate  the  top.  The  edges  are  laced  together 
with  cable  cord. 


171 

WORKING  DIRECTIONS  FOR  SOFA  PILLOW  COVER 
PREPARING  MATERIAL. 

Straighten  one  end  of  the  material  (Chap.  II,  Par.  102),  measure 
down  on  the  selvage  32"  (twice  the  width  of  the  pillow). 

DRAWING  DESIGN. 

The  pillow  cover  should  be  embroidered  before  the  seams  are 
sewed  together.  The  design  shown  in  the  illustration  is  intended 
only  as  a  suggestion.  Each  girl  should  draw  a  suitable  design  for 
her  own  pillow  (this  design  should  be  worked  out  in  the  drawing 
class).  When  drawing  a  design  for  a  pillow  cover  keep  in  mind  the 
purpose  which  the  pillow  is  to  serve.  The  use  of  beads,  heavy  braid 
and  elaborate  embroidery  are  not  in  good  taste  for  a  sofa  pillow. 
You  should  plan  a  simple  design,  but  make  it  attractive  by  doing  it 
very  carefully. 

TRANSFERRING  THE  DESIGN. 

After  you  have  designed  your  pattern  transfer  it  to  the  proper 
position  on  the  material.  To  do  this,  place  a  piece  of  carbon  paper, 
carbon  side  down  on  the  pillow  cover,  pin  pattern  over  it,  being  sure 
to  pin  it  sufficiently  to  avoid  slipping.  Trace  the  pattern  with  a  lead 
pencil.  Remove  the  pattern  and  carbon  paper. 

The  sofa  pillow  in  this  lesson  is  worked  with  the  satin  stitch 
(Chap.  II,  Par.  131)  and  outline  etching  stitch  (Chap.  II,  Par.  125). 
Consider  the  color  scheme  of  the  room  in  which  this  sofa  pillow  is  to 
be  used,  then  select  colors  that  will  be  suitable  for  your  embroidering. 
Work  this  design  very  carefully  for  this  is  the  portion  of  the  work 
from  which  your  skill  will  be  judged. 

JOINING  THE  SEAMS. 

As  this  pillow  cover  is  to  be  made  of  one  piece  of  material,  fold 
the  two  edges  together  evenly  with  the  wrong  side  out.  On  one  end 
baste  and  stitch  the  edges  together  with  a  1/4"  seam  (the  other  end  is 
to  be  left  open  to  put  in  the  pillow).  Also  stitch  the  long  side  with 
a  1/4"  seam,  turn  the  pillow  cover  right  side  out. 

TO  SEW  ON  THE  FRINGE. 

As  the  fringe  is  not  used  entirely  around  the  pillow,  cut  it  into 
two  equal  parts.  Finish  the  ends  with  narrow  hems  (Chap.  II,  Par. 
114)  making  each  piece  when  hemmed  just  long  enough  to  finish  one 
end  of  the  pillow  as  shown  in  the  illustration.  Lay  the  straight  edge 
of  one  piece  of  fringe  flat  on  one  end  of  the  pillow  allowing  it  to 


172 

overlap  about  Vfe"  (be  sure  it  overlaps  evenly  across  the  end  of  the 
pillow).  You  should  pin  it  on,  baste  it  in  position  if  necessary.  Sew 
the  fringe  onto  this  edge  with  fine  running  stitches.  Make  a  second 
row  of  running  stitches  parallel  to  the  first  on  the  extreme  edge  of 
the  pillow  cover. 

NOTE:  The  opposite  end  of  the  pillow  cover  is  left  open  to 
receive  the  pillow.  The  fringe  on  this  edge  must  therefore  be  sewed 
only  to  the  top  portion  of  the  cover. 

Turn  in  the  edge  of  the  top  side  of  the  cover  about  *4",  pin  or 
baste  the  fringe  on  the  upper  side  of  this  edge  and  with  running 
stitches  sew  it  in  place  as  you  did  on  the  other  end. 

PUTTING  IN  THE  PILLOW. 

Any  pillow  which  will  fit  the  cover  may  be  used.  Slip  the  pillow 
into  the  opening  and  overhand  the  edges  together  neatly  under  the 
fringe. 


173 


TABLE  COVER 

MATERIALS. 
Linen  (Chap.  I,  Par.  40). 

1V2   yards  Art  linen   18"  to 
22"  wide. 

3  shades  embroidery  cotton. 
Black  embroidery  cotton. 
Embroidery  needle. 
Linen     colored    thread     for 
hemstitching. 


INTRODUCTORY  STATEMENT. 

As  the  top  of  a  library  table  is  usually  made  of  cabinet  wood 
with  a  fine  finish,  it  should  be  protected  from  mars  and  scratches. 
For  this  purpose  some  kind  of  table  cover  is  quite  necessary.  The 
light  silk  Oriental  rugs,  which  are  very  expensive,  are  sometimes 
used  for  this  purpose;  leather  also  makes  an  attractive  cover,  but 
the  table  covers  made  of  strips  of  natural  linen  or  crash  are  cheap, 
durable,  easily  cared  for  and  may  be  made  very  attractive  with  dif- 
ferent kinds  of  handwork. 

The  table  cover  shown  in  this  lesson  is  an  example  of  one  made 
of  linen  finished  at  the  ends  with  fringe,  and  decorated  with  a  hand 
embroidered  design.  The  shades  of  brown,  used  in  working  this 
table  cover  will  make  it  harmonize  very  nicely  with  a  room  in  which 
the  prevailing  tone  is  brown. 


References: 


Home  Economics,  Parloa.    .Manual  Arts  Press. 

Household  Arts,  Mrs.  Candace  Wheeler.     Manual  Arts  Press. 


174 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


STENCILED  TABLE  COVER. 

No.  1.  This  table  cover  is  made  of  a  strip  of  linen  crash;  it  is 
finished  with  a  double  hemstitched  hem  at  each  end;  it  is  made  long 
enough  to  hang  over  the  end  of  the  table  about  6".  The  colors  used 
in  the  stencil  are  soft,  subdued  shades  of  dark  green  and  red;  these 
-colors  will  not  be  out  of  harmony  with  the  color  scheme  of  almost 
#ny  room  in  which  it  might  be  used. 

GAME   TABLE   COVER. 

No.  2.  This  cover  may  be  made  of  white  linen,  white  poplin  or 
Indian  head.  It  is  made  to  place  on  a  game  table  for  the  purpose  of 
protecting  the  sleeves  of  the  players.  The  tapes  sewed  on  near  the 
corners  are  used  to  tie  the  cover  to  the  legs  of  the  table.  The  band  of 
filet  crocheting  in  the  center  of  the  cover  is  buttonholed  in  place. 


175 
WORKING  DIRECTIONS  FOR  TABLE  COVER 

PREPARING  MATERIAL. 

If  the  material  is  purchased  18",  20"  or  22"  wide  (which  are  the 
usual  widths)  it  will  be  used  without  removing  the  selvages.  If  art 
linen  is  not  used,  and  the  cover  is  cut  from  wider  material  (if  there 
is  no  selvage)  carefully  straighten  the  edges  of  the  material  (Chap.  II, 
Par.  102)  making  the  piece  the  same  width  at  each  end.  Finish  both 
edges  with  a  small  flat  hem  which  may  be  made  either  by  hand 
(Chap.  II,  Par.  114),  or  stitched  on  the  sewing  machine  (Chap.  II, 
Par.  164). 

The  length  of  the  cover  may  be  varied  to  suit  the  size  of  the  table 
upon  which  it  is  to  be  used,  about  a  yard  and  a  half  is  a  convenient 
length.  It  should  be  long  enough  to  overhang  a  few  inches  at  each 
end  of  the  table,  preferably  so  the  entire  design  will  be  on  the  part 
that  overhangs. 

MAKING  THE  FRINGE. 

Draw  a  thread  and  straighten  the  end  (Chap.  II,  Par.  102).  Meas- 
ure up  from  this  straightened  end  as  far  as  desired  for  the  length  of 
the  fringe  (about  4"  or  5"  will  be  satisfactory).  Draw  several  threads 
(do  not  turn  a  hem)  ,hemstitch  across  the  end  making  the  stitches 
catch  in  the  main  part  of  the  cover  (Chap.  II,  Par.  115),  pull  out  the 
remainder  of  the  threads  below  the  line  of  hemstitches.  This  will 
leave  all  of  the  warp  threads  hanging  free  to  form  the  fringe. 

TYING  THE  KNOTS. 

These  threads  are  to  be  divided  into  equal  groups  and  tied  in 
knots  as  may  be  seen  in  the  illustration  at  the  front  of  the  lesson. 
Divide  the  threads  into  groups  of  about  eight  threads  each.  Com- 
mencing at  one  edge,  tie  the  first  group  in  a  knot  with  the  fourth 
group  letting  the  knot  come  down  about  1".  Tie  the  second  group 
and  the  sixth  group  in  similar  manner,  then  the  third  and  eight  group, 
then  the  fifth  and  tenth,  then  the  seventh  and  twelfth,  then  the  ninth 
and  fourteenth  and  so  on  across  the  end  of  the  cover. 

These  groups  of  threads  should  be  tied  in  such  a  way  as  to  form 
an  even  row  of  knots  equally  distant  from  the  hemstitching.  If 
desired,  other  designs  may  be  worked  out  by  dividing  the  threads  in 
different  groups  and  tying  in  different  ways. 

Make  the  fringe  on  the  other  end  and  tie  the  knots  in  exactly 
the  same  way. 


176 

THE  DESIGN. 

The  table  cover  is  to  be  decorated  with  an  embroidered  design. 
This  may  be  drawn  free-hand  on  a  piece  of  paper,  afterwards  trans- 
ferred to  the  cover.  This  method  is  recommended  as  it  will  give  an 
opportunity  of  using  in  the  sewing  class  some  of  the  things  worked 
out  in  the  study  of  drawing.  After  working  out  the  design,  transfer 
it  to  the  material  by  using  a  carbon  paper.  Place  the  carbon  side  of 
the  paper  next  to  the  linen,  pin  the  design  over  it  in  sufficient  number 
of  places  to  prevent  slipping,  then  carefully  trace  the  design  with  a 
pencil.  Remove  pattern. 

A  commercial  pattern  may  be  used  if  preferred;  place  the  rough 
side  of  the  pattern  next  to  the  goods  and  press  with  a  hot  iron.  Out- 
line all  of  the  parts  of  the  design  with  the  outline  etching  stitch  in 
black  (Chap.  II,  Par.  125).  The  larger  parts  of  the  embroidery  pattern 
are  to  be  heavily  padded.  This  padding  should  be  carefully  done  so 
as  to  give  a  rounded  appearance  to  the  finished  work.  The  embroid- 
ering is  done  with  the  satin  stitch  (Chap.  II,  Par.  131).  The  opposite 
end  of  the  cover  may  be  embroidered  with  similar  design. 


177 


GUEST  TOWEL 

MATERIALS. 

Huckaback  (Chap.  I,  Par.  20 
or  47)  or 

Damask  (Chap.  I,  Par.  13  or 
45). 

%  yard  linen  toweling. 
Embroidery  cotton. 
Embroidery  needle. 
Padding  cotton. 
Thread  No.  70. 
Needle  No.  8. 


INTRODUCTORY  STATEMENT. 

As  the  name  indicates,  the  guest  towel  is  designed  especially 
for  the  use  of  guests.  It  is  made  smaller  than  the  ordinary  towel; 
when  a  towel  is  likely  to  be  used  only  a  few  times  it  is  very  con- 
venient, because  it  is  easily  laundered. 

The  guest  towel  should  be  made  of  the  same  kind  of  material 
as  other  fine  towels,  woven  in  a  narrower  width;  huckaback  or 
damask  linen  are  the  materials  generally  used.  The  ends  are  usually 
finished  with  double  hemstitching,  embroidered  scallops,  crochet  or 
some  other  kind  of  handwork;  the  body  of  the  towel  is  also  frequent- 
ly embroidered  or  decorated  in  some  way. 

The  guest  towel  shown  in  the  lesson  is  finished  with  double 
hemstitched  hems  and  marked  with  an  embroidered  initial.  Cross- 
stitch  work  is  used  very  effectively  in  embroidering  this  kind  of  towel. 


References: 

Home  Problems   from  a   New   Standpoint,  C.  L.  Hunt. 
Arrangement  of  Home  Furnishings,  Cornell  Bulletin,  Ithaca,  N.  Y. 


178 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


THE  STORK  GUEST  TOWEL. 

No.  1.  The  ends  of  this  towel  are  finished  with  embroidered 
scallops.  The  stork  design  is  worked  (on  one  end  only)  with  French 
knots  in  different  colors. 

FANCY  GUEST  TOWEL. 

No.  2.  This  towel  is  finished  with  double  hemstitched  hems  at  the 
ends.  The  lower  edge  of  one  end  is  finished  with  a  narrow  crocheted 
edging;  the  lower  edge  of  the  other  hem  is  finished  with  the  same  kind 
of  edging  combined  with  a  square  of  filet  lace  in  each  corner. 

FANCY  GUEST  TOWEL. 

No.  3.  The  ends  of  this  towel  are  finished  with  hemstitched  hems 
on  the  edges  of  which  narrow  crocheted  lace  is  sewed  as  shown  in 
the  illustration. 


No.  4.  A  band  of  tatting  worked  in  a  delicate  color  is  placed 
above  one  hem  of  this  towel.  The  other  hem  is  finished  with  hem- 
stitching. The  embroidered  initial  corresponds  with  the  color  of 
the  tatting. 


179 

WORKING  DIRECTIONS  FOR  GUEST  TOWEL 

PREPARING  MATERIAL. 

As  you  are  using  regular  toweling  which  has  selvage  edges  you 
will  not  need  to  give  them  any  further  attention.  Straighten  one 
end  of  the  towel  (Chap.  II,  Par.  102)  from  this  end  measure  down 
on  the  selvage  the  length  desired  for  the  towel  (%  yard  is  used  in 
this  lesson).  The  length  of  the  towel  may  be  varied  but  it  should 
always  be  kept  in  proportion  to  its  width. 

PREPARING  HEMS. 

The  ends  of  this  towel  are  to  be  finished  with  double  hemstitched 
hems  1"  wide.  Measure  up  from  one  end  21/4"  (double  the  width  of 
the  hem,  plus  the  first  turning).  Draw  a  thread.  To  prepare  for  the 
hemstitching  draw  three  or  four  more  threads  toward  the  center  of 
the  towel.  Fold,  pin  and  baste  the  hem  in  place  with  even  basting. 
Double  hemstitch  the  hem  (Chap.  II,  Par.  116).  Finish  the  other 
end  of  the  towel  in  the  same  manner. 

NOTE:  A  very  attractive  towel  may  be  made  by  substituting  a 
hem  of  colored  linen  for  the  hem  of  white  linen.  This  may  be  set 
on  with  so-called  machine  hemstitching.  Some  machines  are  pro- 
vided with  an  attachment  for  hemstitching,  which  may  be  used  for 
this  purpose.  The  following  method  may  be  used  satisfactorily  on 
any  machine:  Lay  about  two  thicknesses  of  blotting  paper  on  the 
end  of  the  towel,  even  with  the  edge.  Lay  a  strip  of  colored  linen 
(twice  the  wridth  desired  plus  Mz"  for  underturnings)  over  this  with 
its  straightened  edge  even  with  the  end  of  the  towel. 

Baste,  and  using  a  loose  top  tension  on  the  sewing  machine, 
stitch  the  two  edges  together  (stitching  through  the  material  and  the 
blotters)  with  a  i/4"  seam  (Chap.  II,  Par.  164),  remove  bastings,  trim 
the  blotter  very  close  to  the  seam,  or  bend  it  and  tear  it  away  along 
the  line  of  stitching.  Pull  the  other  edge  of  the  blotting  paper  away; 
this  will  leave  the  two  materials  sewed  together  with  very  loose 
stitches. 

Turn  the  raw  edges  back  from  the  stitching  onto  the  material, 
pulling  the  loose  stitches  between  the  two  pieces  of  material  straight. 
Finish  the  raw  edge  turned  back  on  the  towel  by  turning  it  under 
and  sewing  it  down  with  hemming  stitches  (Chap.  II,  Par.  114).  Turn 
in  the  outside  raw  edge  of  the  colored  piece  and  fold  it  over  to  the 
hemstitched  edge.  Baste  it  in  place  and  hem  down  or  stitch  on  the 
edge  with  the  sewing  machine. 


180 


THE   INITIAL. 

An  Old  English  letter  was  used  for  the  initial  on  the  towel  shown 
in  this  lesson.  For  your  own  towel  you  may  select  any  style  initial 
you  desire  (the  initial  should  not  be  more  than  IVfe"  long).  It  should 
be  placed  above  the  hem  about  1"  in  the  center  of  the  towel.  If  you 
have  designed  your  own  initial,  transfer  it  with  carbon  paper.  To 
do  this,  cut  a  piece  of  carbon  paper  a  trifle  larger  than  the  initial, 
place  it  carbon  side  down  on  the  towel,  pin  the  pattern  for  the  initial 
over  this  and  draw  around  it  with  a  lead  pencil.  Remove  the  carbon 
paper  and  pattern  and  work  the  initial. 

If  a  commercial  pattern  is  used  transfer  it  to  the  towel  by  laying 
it  rough  side  down  in  the  position  desired  on  the  towel  and  pressing 
it  with  a  hot  iron. 

Pad  this  initial,  before  working  it,  rounding  it  a  little  in  the  cen- 
ter. Work  it  with  the  satin  stitch  (Chap.  II,  Par.  131). 


181 


BUNGALOW 
APRON 

MATERIALS. 

Gingham  (Chap.  I,  Par.  19) 
or 

Percale  (Chap.  I,  Par.  31),  or 
Chambray  (Chap.  I,  Par.  9). 

3  yards  of  gingham,  30"  or 
36"  wide. 

1  2/3  yards  rickrack. 

Thread  No.  70. 

Needle  No.  8. 

Pattern  for  kimono  night 
gown  (drafted  or  commer- 
cial). 


INTRODUCTORY  STATEMENT. 

The  over-all  or  bungalow  apron  is  very  desirable  to  put  on  over 
the  Sunday  dress,  or  it  may  even  be  worn  as  a  house  dress. 

This  apron  may  be  made  of  calico,  percale,  gingham,  or  similar 
wash  materials.  If  it  is  to  be  worn  in  the  kitchen  when  doing  work 
which  would  soil  a  light  colored  apron,  dark  colored  material  will 
be  most  serviceable;  light  colored  aprons  may  be  saved  for  ironing 
day,  baking  day  and  meal  time  when  you  wish  to  look  particularly 
fresh  and  clean. 

In  dark  colors  there  are  many  good  patterns  which  may  be 
selected.  The  small  blue  and  white  checked,  black  and  White  striped 
materials,  the  plain  blue  chambrays  or  ginghams  will  make  up  at- 
tractively in  the  design  given  in  this  lesson.  Rickrack  used  to  finish 
the  neck  and  sleeves  of  the  apron  will  brighten  it  and  add  to  its 
appearance. 


References: 

Textiles,  Dooley.     D.  C.  Heath  &  Co. 

A  Dictionary  of  Calico  Printing,  O'Neill.     Baird  &  Co.,  Philadelphia. 


182 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


BUNGALOW  APRON. 

No.  1.  This  apron  is  made  by  combining  a  kimono  waist  with  a 
plain  gored  skirt,  at  the  waist.  A  belt  made  long  enough  to  tie  in  the 
back  is  stitched  across  the  front  of  the  waist  line.  The  apron  is 
trimmed  with  bias  bands  of  a  contrasting  color.  This  apron  may  be 
made  from  a  commercial  pattern;  patterns  drafted  from  the  upper 
part  of  kimono  night  gown  and  the  plain  three  or  five  gored  skirt 
may  be  used. 

BUNGALOW  APRON. 

No.  2.  This  apron  is  very  similar  to  the  one  described  in  the 
lesson,  except  that  it  is  opened  in  front  and  the  neck  is  finished  with 
a  plain  rolled  collar  instead  of  rickrack.  It  may  be  made  from  a 
kimono  night  gown  pattern.  It  is  trimmed  with  bias  tape  of  a  con- 
trasting color  and  the  front  opening  is  laced  together  with  cotton  tape. 


183 
WORKING  DIRECTIONS  FOR  BUNGALOW  APRON 

PREPARING  MATERIAL. 

Shrink  the  material  before  making.  To  do  this,  wet  it  thoroughly, 
allow  it  to  partially  dry  then  iron  until  thoroughly  dry. 

CUTTING   OUT   THE   APRON. 

Use  a  drafted  pattern  for  a  kimono  night  gown  (Chap.  IV);  or 
if  desired,  a  commercial  pattern  may  be  used.  If  a  commercial 
pattern  is  used,  study  carefully  the  guide  chart  and  all  directions 
which  accompany  it.  This  apron  is  made  without  seams  on  the  shoul- 
ders, the  back  and  front  being  cut  alike,  hence  one-half  the  pattern 
for  the  front  of  the  kimono  night  gown  will  be  sufficient  to  use  in 
cutting  it  out.  To  prepare  the  material  for  cutting,  fold  it  lengthwise 
in  the  center,  making  the  selvages  even;  fold  it  crosswise  in  the  cen- 
ter. Lay  the  straight  edge,  or  center  front  of  the  pattern  on  the 
lengthwise  fold  of  the  goods  with  the  top  of  the  shoulder  even  with 
the  crosswise  fold.  Pin  it  in  several  places  to  keep  it  from  slipping. 
Cut  out  the  apron.  (Do  not  cut  the  cloth  at  the  top  of  the  shoulder, 
or  on  the  center  fold).  Remove  the  pattern. 

JOINING  SEAMS. 

The  only  seams  in  this  apron  are  the  under-arm  seams.  These 
may  be  made  French  seams.  To  make  them,  baste  the  edges  of  the 
material  together  on  the  right  side  and  follow  directions  for  making 
a  French  seam  (Chap.  II,  Par.  137). 

FINISHING  NECK,  SLEEVES  AND  BACK. 

As  this  apron  is  opened  in  the  back,  you  may  cut  the  back  piece 
in  two  on  the  center  crease.  Lay  a  hem  Mz"  wide  on  each  edge;  baste 
and  stitch  in  place.  (If  necessary  face  it  by  sewing  a  strip  1"  wide 
on  the  edge  and,  turning  it  back  on  the  wrong  side  like  a  hem,  finish 
it  in  the  same  manner).  Try  on  the  apron;  pin  it  together  at  the  back; 
cut  out  the  neck  the  desired  shape;  see  that  the  sleeves  are  the 
proper  length.  (If  they  are  too  short,  lengthen  them  by  setting  on 
an  extra  piece  of  material;  if  they  are  too  long,  cut  them  off  to  the 
length  desired.)  While  you  have  the  apron  on,  it  may  be  hurig,  that 
is,  evened  around  the  bottom.  To  hang  the  apron,  decide  on  the  dis- 
tance you  desire  to  have  it  from  the  floor.  Stand  on  a  table  and  have 
someone  turn  up  the  bottom  of  the  apron  exactly  even  all  the  way 
around  using  a  skirt  gauge  or  a  yard  stick.  Remove  the  apron,  lay  a 
narrow  hem  around  the  neck  and  around  the  bottoms  of  the  sleeves; 


184 

baste  in  place  but  do  not  stitch.  If  rickrack  is  used  to  finish  the  edge, 
baste  it  on  the  wrong  side,  over  the  hem.  Join  it  on  the  sleeves  with 
a  felled  seam.  Turn  under  the  ends  in  a  narrow  hem  at  the  neck  and 
stitch  it  in  place  with  two  parallel  rows  of  machine  stitching. 

THE   HEM. 

The  hem  at  the  bottom  may  be  made  the  width  desired;  about  4" 
is  a  good  width.  Fold  the  hem  on  the  line  marked  when  the  apron 
was  hung.  With  a  cardboard  gauge  (a  strip  of  cardboard  l/z"  wide 
and  the  length  that  you  desire  the  width  of  the  hem)  used  as  a  guide 
trim  off  the  material  of  the  hem  making  it  exactly  even;  turn  under 
the  raw  edge,  pin  and  baste  in  place.  Extra  fullness  at  the  top  of 
the  hem  may  be  removed  by  laying  small  pleats  in  it.  (Turn  all 
the  pleats  in  the  same  direction.)  Stitch  the  hem  in  place. 

THE  BELT. 

To  make  the  belt,  use  the  material  cut  from  the  sides;  if  nec- 
essary, to  make  the  belt  long  enough,  piece  it  in  the  center.  It  may 
be  made  long  enough  to  allow  the  ends  to  lap  in  front,  or  it  may 
button  together  in  the  back.  Make  it  about  3"  wide.  It  may  be  made 
double,  or  the  edges  may  be  finished  with  narrow  hems  and  rickrack, 
the  same  as  the  neck  and  sleeves.  It  should  be  fastened  to  the  apron 
with  a  vertical  row  of  machine  stitching. 

FASTENINGS. 

The  apron  is  fastened  in  the  back  with  buttons  and  buttonholes 
(Chap.  II,  Par.  135-136).  These  may  be  placed  about  4"  apart  and  may- 
extend  about  6"  or  8"  below  the  waist  line. 

The  belt  should  be  fastened  together  writh  one  button  and  button- 
hole if  lapped  in  front;  if  lapped  in  the  back,  it  should  be  fastened 
together  with  two. 


185 


COOKING  APRON 


MATERIALS. 
Long  Cloth  (Chap.  I,  Par.  24). 

1  piece  long  cloth  twice  as  long  as     Thread  No.  70. 
the  skirt  length  plus  1  yard  for     4  pearl  buttons, 
bib  and  9"  for  hem.  1  yard  drafting  paper  for  pattern. 

INTRODUCTORY  STATEMENT. 

In  order  to  protect  their  dresses  while  at  work  in  the  cooking 
laboratory,  teachers  usually  require  the  girls  to  wear  some  sort  of 
cooking  apron. 

As  white  gives  a  pleasing  impression  of  cleanliness,  it  is  most 
commonly  chosen  for  this  purpose.  White  cambric,  percale  or  any 
smooth  finished,  firm  white  material  may  be  used.  There  are  a 
number  of  different  ways  of  making  cooking  aprons,  but  if  a  uniform 
pattern  is  chosen  it  gives  a  most  attractive  appearance  to  the  class. 


References: 

Hints  on  Choosing  Textiles,  Cornell  Bulletin,  Ithaca,  N.  Y. 
Saving  Strength,  Cornell  Bulletin,  Ithaca,  N.  Y. 


186 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


GORED  COOKING  APRON. 

No.  1.  The  skirt  of  this  apron  is  gored.  It  may  be  made  from 
a  five  gored  commercial  pattern  or  a  drafted  pattern.  The  band  is 
made  21/2"  wide,  and  the  straps,  which  cross  in  the  back  and  button 
at  the  band,  are  made  2"  wide.  This  bib  is  finished  with  an  inch  hem; 
it  is  made  7V2"  wide  at  the  top  and  6V2"  wide  at  the  bottom. 

COOKING  APRON. 

No.  2.  The  skirt  of  this  apron  is  made  the  same  as  in  No.  1.  The 
bib  is  made  of  one  piece  of  material,  a  half  pattern  for  which  may  be 
cut  free-hand.  To  do  this,  place  the  straight  edge  of  a  piece  of  paper 
on  the  center  front  of  the  waist,  curve  the  neck  and  shape  the  pattern 
on  the  sides  and  back  as  in  the  illustration.  When  the  pattern  is 
made,  the  front  edge  should  be  gored  off  about  l/2ff  at  the  top,  other- 
wise the  neck  of  the  apron  will  fall  forward  in  a  pleat.  When  worn, 
the  back  of  this  apron  may  be  pinned  in  place  with  a  beauty  pin  to 
keep  it  from  slipping  up  on  the  neck. 


187 
WORKING  DIRECTIONS  FOR  COOKING  APRON 

PREPARING  MATERIAL. 
Shrink  the  material. 

PATTERN  FOR  BIB. 

Although  a  commercial  pattern  may  be  used  for  this  bib,  a  free- 
hand pattern  may  be  cut.  To  do  this,  take  a  strip  of  paper  one  yard 
long  and  the  width  from  the  center  front  of  the  waist  to  the  shoulder. 
Hold  it  up  to  the  person  for  whom  intended  with  the  straight  edge 
on  the  center  front  of  the  body;  pin  it  in  front  and  curve  out  the  neck 
the  width  desired.  Pin  it  smoothly  on  the  shoulder  and,  making  it 
about  5l/2ff  wide  at  the  bottom,  cut  a  curved  line  up  to  within  about 
6"  of  the  shoulder,  as  in  the  illustration.  To  make  the  back  of  the 
pattern,  crease  the  edge  of  the  paper  so  it  will  make  a  straight  line 
down  the  center  back  (this  will  make  a  bias  edge);  cut  off  extra 
paper  %"  outside  of  crease  to  allow  for  seams.  Curve  the  back  of  the 
pattern  up  toward  the  shoulder  as  in  illustration.  Trim  off  even  with 
the  waist  line,  both  back  and  front. 

THE  SKIRT. 

Make  your  apron  the  same  length  as  your  dress  skirt  allowing 
4l/z"  for  hems  and  fitting.  Tear  off  two  strips  the  desired  length.  Use 
one  strip  for  the  front  gore.  It  is  necessary  to  make  this  apron  nar- 
rower at  the  top  than  at  the  bottom,  in  order  to  remove  some  of  the 
fullness.  To  do  this,  fold  the  strip  lengthwise  in  the  center,  pinning  it 
to  hold  it  in  place.  At  the  top,  measure  in  from  the  selvage  to  the 
center  fold,  4".  Mark  with  a  pin.  Fold  over  the  two  selvage  edges 
forming  a  slanting  fold  from  the  pin  to  the  bottom.  Crease  firmly 
with  the  thumb  nail;  cut  on  the  crease. 

In  order  to  make  the  front  gore  fit  smoothly  on  the  belt  it  should 
be  curved  out  slightly  in  front.  To  do  this,  measure  down  on  the  fold 
from  the  top  %".  Cut  an  inward  curved  line  from  this  point  to  the 
top  outside  edges  of  the  material.  Remove  pins. 

The  back  pieces  of  this  skirt  are  made  from  the  other  strip  of 
material.  Tear  the  material  in  the  center,  lengthwise.  Sew  the  torn 
edges  of  the  back  pieces  to  the  front  gore  with  French  seams  (Chap. 
II,  Par.  137).  (Be  careful  to  make  the  pieces  even  at  the  top.)  The 
back  edges  of  the  apron  may  be  left  with  the  selvage  edges  for  the 
finish,  or,  a  1"  hem  may  be  made  if  preferred. 


188 

THE  BIB. 

As  you  are  to  use  a  half  pattern  for  the  bib,  it  must  be  cut  from 
a  double  thickness  of  material.  Fold  the  remaining  material  on  a 
warp  thread,  making  a  strip  the  width  of  the  bib  pattern;  lay  the  cen- 
ter front  of  the  bib  pattern  on  the  fold  of  the  goods;  pin  in  place 
and  cut  out. 

Finish  the  outside  edges  and  the  neck  of  the  bib  with  a  narrow 
hem  stitched  on  the  sewing  machine.  Gather  the  bib  across  the  bot- 
tom (Chap.  II,  Par.  141).  Make  a  a/2"  hem  on  each  edge  at  the  back. 

THE  BAND. 

Cut  or  tear  two  strips  of  material  2y2"  wide  and  the  length  of  the 
waist  measure  plus  2"  for  lapping  and  underturning.  Set  the  gathers 
on  the  skirt  of  the  apron  on  the  edge  of  one  piece  of  the  band  (Chap. 
II,  Par.  142),  allowing  the  band  to  extend  beyond  the  gathers  about 
1V£"  at  each  end.  Baste  one  edge  of  the  other  piece  of  the  band  on 
the  opposite  side  of  the  gathers  making  the  ends  and  edges  even  with 
the  first  piece.  Stitch  the  ends  together  with  a  l/±"  seam.  Remove 
bastings.  Turn  the  band  right  side  out  and  baste.  Turn  in  the  raw 
edges,  adjust  the  gathers  and  insert  the  bib  between  open  edges  of 
the  band,  being  careful  to  have  center  of  bib  on  center  of  band.  Pin 
and  baste  in  place.  Put  the  apron  on  and  insert  the  back  pieces  ol 
the  bib  in  the  apron  band  even  with  the  ends,  pin  in  place  and  remove 
the  apron  and  baste  the  bib  in  place  at  the  back.  Stitch  entirely 
around  the  edges  of  the  band. 

Place  buttons  and  buttonholes  on  back  of  apron  as  shown  in 
illustration  (Chap.  II,  Par.  135-136). 

Put  on  the  apron  and  have  someone  even  it  around  the  bottom. 
Remove  apron,  baste  along  the  folded  edge  of  the  hem,  even  it  to  the 
desired  width  (use  a  strip  of  cardboard  as  a  gauge),  turn  in  the  raw 
edge,  stitch  in  place. 


189 


BASE  BALL 
SUIT 

MATERIALS. 

Flannel  (Chap.  I,  Par.  59). 
Muslin  (Chap.  1,  Par.  27). 

Amount  of  material  called 
for  in  the  pattern  used. 

1  yard  of  2"  linen  belting. 

About  % "  yard  of  V2"  elastic. 

Commercial  pattern  for  base- 
ball suit. 

Silk  thread  to  match  ma- 
terial. 

Buttonhole  twist. 


INTRODUCTORY  STATEMENT. 

Baseball  is  a  popular  form  of  athletics  in  high  school.  In  play- 
ing this  game  it  is  quite  necessary  that  the  boys  have  suits  specially 
made  for  the  purpose.  Although  these  suits  can  be  purchased  ready 
made  they  may  be  made  much  more  cheaply  at  home;  they  can  also 
be  made  very  acceptably  by  the  girls  in  the  sewing  class.  These  suits 
are  generally  made  of  flannel  trimmed  with  a  contrasting  color;  col- 
ored outing  flannel  may  also  be  used. 

While  they  vary  somewhat  in  a  few  details,  such  as  the  length 
of  the  sleeves  or  the  shape  of  the  collar,  the  general  style  of  these 
suits  is  about  the  same.  Of  course  the  lettering  on  the  suits  will 
depend  on  local  conditions;  the  name  of  the  school,  the  club  or  team 
will  usually  suggest  suitable  initials  or  monogram. 

The  suit  showrn  in  this  lesson  is  made  of  gray  flannel  trimmed 
with  a  similar  material  of  navy  blue. 


References: 

Textiles  and  Clothing,  Watson.     American  School  of  Home  Economics. 
Clothes  Moths,  U.  S.  Bulletin,  659. 


190 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


No.  1.     Athletic  Shirt.  No.  2.     Track  Trousers. 


No.  1.     Girl's  Swimming  Suit.  No.  2.     Girl's  Gym.  Suit, 


191 
WORKING  DIRECTIONS  FOR  BASE  BALL  SUIT 

CUTTING  OUT  SUIT. 

As  the  drafting  of  a  pattern  for  this  ball  suit  would  be  rather 
difficult,  you  should  use  a  commercial  pattern.  As  the  pattern  may 
vary  somewhat  in  style  from  the  suit  shown  in  the  illustration,  the 
directions  given  here  should  be  used  merely  as  suggestions.  Before 
cutting  out  the  suit,  carefully  study  the  guide  chart  and  directions 
accompanying  the  pattern.  Pin  the  pattern  to  the  goods  to  keep  it 
from  slipping.  Lay  all  the  parts  of  the  pattern  on  the  material  before 
beginning  to  cut.  Cut  out  the  entire  suit.  (If  there  is  no  separate 
pattern  for  the  lining  the  pattern  for  the  trousers  may  be  used.) 

JOINING  SEAMS  ON  THE  SHIRT. 

After  basting  the  shoulders  and  under-arm  seams  of  the  back  and 
front  together  on  the  right  side,  finish  them  with  felled  seams  (Chap. 
II,  Par.  138).  Baste  the  seams  of  the  sleeves  together  on  the  right 
side  and  finish  with  French  seams  (Chap.  II,  Par.  137).  Set  the  sleeves 
in  the  armhole  with  lapped  seams  (Chap.  II,  Par.  139). 

FINISHING  THE  PLACKET,  NECK  AND  SLEEVES. 

As  this  shirt  opens  only  part  way  down  the  center  front,  the 
opening  should  be  finished  with  a  placket;  use  the  extension  placket 
(Chap.  II,  Par.  162);  make  it  lap  from  left  to  right.  Trim  the  outside 
of  the  placket  with  a  strip  of  flannel  2"  wide  and  2"  longer  than  the 
placket;  make  it  pointed  at  the  bottom.  Place  three  buttons  and  but- 
tonholes as  in  illustration  (Chap.  II,  Pars.  135  and  136). 

The  neck  in  this  suit  is  finished  with  a  double  band  of  flannel 
1"  wide. 

The  bottom  of  the  sleeves  are  finished  with  a  strip  of  flannel  iy2" 
wide  stitched  on  the  right  side  of  the  edge  of  the  sleeve. 

JOINING  SEAMS  OF  THE  TROUSERS. 

Make  the  lining  first.  Join  the  parts  of  each  leg,  then  sew  the 
two  legs  together,  leaving  an  opening  for  a  placket  about  4"  long  at 
the  front  end  of  the  seam.  Join  the  trousers  in  the  same  way.  Place 
the  lining  inside  the  trousers,  with  all  raw  edges  inside  and  baste  the 
two  together  along  the  outside  seems  of  the  legs;  stitch  them  together 
on  these  seams  with  two  rows  of  parallel  stitching,  about  1/4"  apart. 
Baste  and  stitch  a  hip  pocket  in  place. 


192 


PLACKET  FOR  TROUSERS. 

To  finish  the  opening  on  the  front  of  the  trousers,  sew  an  ex- 
tension 1"  wide  on  the  right-hand  side  of  the  opening  (Chap.  II,  Par. 
162);  face  the  left  side  with  a  piece  of  lining  P/V'  wide  at  the  top, 
tapered  off  to  •%"  at  the  bottom;  this  should  extend  from  the  top  of 
the  opening  to  the  crotch  of  the  trousers.  To  provide  an  extra  flap 
for  the  buttonholes  (which  do  not  show  on  the  outside)  a  piece  of 
flannel  the  same  size  and  shape  as  the  facing  is  first  lined,  then 
stitched  with  the  facing  to  the  trousers. 

Three  buttonholes  are  placed  crosswise  in  the  facing  at  regular 
intervals,  the  last  one  being  placed  2"  from  the  top.  A  button  should 
be  sewed  on  the  under  side  of  this  facing  at  the  top.  Buttons  to  cor- 
respond with  the  buttonhole  should  be  sewed  on  the  extension  piece 
and  a  buttonhole  worked  at  the  top  to  correspond  with  the  button 
opposite. 

TO  FINISH  THE  TOP  AND  BOTTOM. 

To  provide  a  place  through  which  to  run  the  leather  belt,  five 
straps  about  %"  wide  and  3"  long  should  be  sewed  perpendicularly 
(at  suitable  distances)  to  the  top  edge  of  the  trousers.  Face  the  top  of 
the  trousers  with  some  very  strong  material.  The  bottom  of  each 
leg  is  finished  with  a  Mz"  hem,  containing  an  elastic  band. 


193 

PLAIN 
PETTICOAT 

MATERIALS. 
Long  Cloth  (Chap.  I,  Par.  24). 

1  piece  long  cloth  or  rep- 
plette,  twice  the  length  of 
the  skirt  plus  twice  the 
width  of  the  hem. 

1  piece  bias  tape  the  length 
of  waist  measure  plus  1". 

Thread  No.  70. 

Needle  No.  8. 

Pattern  for  3  piece  skirt 
(commercial  or  drafted). 

INTRODUCTORY  STATEMENT. 

Whether  a  petticoat  is  worn  for  warmth  in  winter  or  for  appear- 
ance sake  in  summer,  a  good  fitting  petticoat  is  absolutely  necessary 
to  the  well  dressed  woman. 

The  style  of  the  petticoat  varies  with  the  constantly  changing 
styles  in  dress  skirts.  When  the  dress  skirts  are  narrow,  the  petti- 
coats must  necessarily  be  narrow;  as  the  fashion  changes  to  the  full 
outside  skirt,  the  petticoat  must  be  made  wider. 

The  material  used  in  the  under  skirt  depends  upon  the  purpose 
for  which  it  is  to  be  used.  In  the  winter  when  a  plain  skirt  is  worn 
under  a  wool  dress  skirt,  dark  colors  in  materials  like  silk,  moire, 
sateen,  percaline  or  similar  materials  are  very  desirable,  while  crepe 
cloth,  nainsook,  long  cloth  and  similar  materials  are  used  for  sum- 
mer skirts. 

The  skirt  shown  in  this  lesson  is  designed  for  every  day  wear 
and  for  this  reason  is  made  of  repplette,  wrhich  is  easily  laundered; 
it  is  made  without  a  ruffle,  a  plain  hem  at  the  bottom  edge  forming 
the  only  trimming. 


References: 


Domestic   Art   in   Woman's   Education,   Cooley.     Scri'bner's    Sons. 
Text   Book   on   Domestic   Art,  Ingalls. 


194 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SCALLOPED  PETTICOAT. 

No.  1.  This  petticoat  is  made  of  heavy  repplette  cloth,  the  same 
as  the  one  shown  in  the  lesson,  except  that  the  bottom  is  finished  with 
scallops  instead  of  the  plain  hem.  These  scallops  may  be  drawn 
directly  on  the  skirt,  in  the  following  manner:  Fold  the  skirt  in 
halves  lengthwise,  then  using  a  tape  measure,  divide  the  bottom  edge 
in  thirds  marking  each  division  with  a  pencil  or  pin.  Cut  a  rounding 
curve  on  a  piece  of  cardboard  to  lay  off  the  scallops  on  the  skirt.  Cut 
out  the  scallops  and  face  the  skirt  with  a  fitted  facing  about  5"  wide. 

SKIRT  WITH  EMBROIDERED  EDGE. 

No.  2.  This  is  a  plain  three-piece  skirt  made  as  in  No.  1,  except 
that  the  bottom  is  finished  with  scallops  embroidered  by  hand.  These 
scallops  may  be  transferred  from  a  commercial  pattern;  or  they  may 
be  laid  out  on  a  strip  of  Manilla  paper,  using  a  quarter  to  outline  the 
lower  edge  and  a  dollar  to  outline  the  upper  edge.  (Any  circular 
object  corresponding  in  size  to  these  coins  may  be  used.)  The  scal- 
lops are  worked  with  the  loop  stitch,  with  coarse  embroidery  cotton. 


195 

WORKING  DIRECTIONS  FOR  PLAIN  PETTICOAT 

PREPARING  MATERIAL. 

Shrink  the  material.  To  do  this,  wet  it,  hang  it  straight  on  the 
line  until  partially  dry,  then  iron  until  thoroughly  dry  (the  repplette 
may  be  allowed  to  dry  on  the  line  without  ironing). 

GUTTING  OUT  THE  SKIRT. 

You  may  use  a  three-piece  skirt  drafted  according  to  directions 
in  Chap.  IV;  or,  if  desired,  you  may  use  a  commercial  pattern.  If  a 
commercial  pattern  is  used,  study  the  guide  chart  for  the  pattern  and 
place  it  on  the  goods  according  to  the  directions  given.  If  you  use  a 
drafted  pattern,  place  the  center  front  of  the  front  gore  on  a  length- 
wise fold  of  the  material;  pin  in  place.  Place  the  straight  edge  of 
the  pattern  for  the  back  gores  on  the  goods  parallel  with  the  warp 
threads  (plan  your  material  as  economically  as  possible).  Remember 
you  must  make  two  back  gores.  Pin  all  of  the  parts  of  the  pattern 
in  place  before  cutting  the  material;  cut  out  the  skirt,  allowing  seams 
if  necessary.  The  notches  which  indicate  the  places  where  the  seams 
are  to  be  joined  should  be  made  very  small,  or  simply  marked  with 
a  pencil. 

JOINING   THE   SEAMS.  ""I'S 

Felled  seams  should  be  used  to  join  the  seams  of  this  skirt. 
Keeping  the  gores  even  at  the  top,  pin  together  the  edges  with  cor- 
responding notches  (put  the  pins  in  crosswise);  baste  the  seams  to- 
gether with  even  basting  (Chap.  II,  Par.  103),  making  the  stitches 
small  at  the  top  of  the  seam  (it  is  well  to  hold  the  gored  edge  toward 
you  when  basting  to  avoid  stretching  it).  When  basting  the  back 
gore,  leave  from  10"  to  12"  at  the  top  unbasted  for  the  placket  open- 
ing. After  the  skirt  is  basted,  remove  the  pins  and  fit  it  carefully, 
marking  the  necessary  alterations  with  pins.  Be  careful  that  the 
seams  over  the  hips  do  not  slant  forward  or  backward  at  the  top.  See 
that  the  skirt  hangs  straight  down  the  front.  If  it  falls  forward  at 
the  bottom,  raise  the  skirt  at  the  back  waist  line.  Be  careful  not 
to  make  the  skirt  too  tight  across  the  hips.  Sit  down  and  see  that 
it  fits  easily  around  the  hips  when  seated.  Remove  the  skirt  and 
baste  again  along  the  line  of  pins.  Remove  the  pins  and  try  it  on 
again  to  see  that  your  alterations  are  correct.  Make  the  felled  seam 
(Chap.  II,  Par.  138).  Finish  the  placket  opening  with  a  bound 
placket  (Chap.  II,  Par.  161). 


196 

FINISHING  THE  TOP. 

A  skirt  may  be  finished  with  a  belt,  but  as  there  are  no  gathers 
in  it  and  the  belt  is  likely  to  increase  the  size  of  the  waist  line,  this 
skirt  is  finished  with  bias  tape.  To  sew  on  the  bias  tape,  lay  one 
edge  even  with  the  top  of  the  skirt,  baste  the  edges  together  in  a 
narrow  seam  turned  toward  the  wrong  side;  fold  the  tape  over  to  the 
wrong  side  and  baste  along  the  turned  edge,  turn  in  the  other  raw 
edge  and  the  ends  of  the  tape  at  the  back,  baste  and  stitch  entirely 
around  the  edges  of  the  tape.  The  tape  may  also  be  stitched  in  the 
center,  to  keep  it  frpm  stretching. 

Sew  hooks  and  eyes  on  the  placket  about  2"  apart,  placing  one  at 
the  top  of  the  placket  to  fasten  the  skirt  around  the  waist  (Chap.  II, 
Par.  133). 

THE  HEM. 

Try  on  the  skirt  again  and  have  someone  turn  up  the  hem,  using 
a  yard  stick,  or  a  skirt  gauge  to  make  it  even.  Remove  the  skirt, 
baste  the  hem  near  the  bottom  edge,  remove  the  pins  and  using  a 
gauge  (strip  of  cardboard  the  desired  length)  as  a  guide,  make  the 
hem  even;  turn  Under  the  raw  edge,  baste  the  hem  in  place,  laying  in 
small  pleats  to  take  up  the  extra  fullness.  Stitch  the  hem  on  the 
sewing  machine.  Remove  bastings. 


197 

REVIEW   QUESTIONS   AND  PROBLEMS. 

1 .  For  what  rooms  at  home  are  sash  curtains  particularly  suitable  ? 

2.  What  kind  of  material  would  you  select  for  sash  curtains? 
What  is  the  price  per  yard  at  your  local  stores? 

3.  What  is  the   function  of  a  laundry  bag?     About  what   size 
would  you  make  it? 

4.  What  kind  of  material  is  generally  used  for  pillow  cases? 

5.  Describe  a  simple  way  of  making  a  pillow  case,  giving  only 
the  points  absolutely  necessary. 

6.  Describe   a  more   elaborate  way  of  making  a   pillow   case; 
name   four   or   five   stitches   and   processes   which   may   be   used   to 
ornament  it. 

7.  Design  and  explain  how  you  would  make  a  fancy  table  cover. 

8.  What  ornamental  stitches  are  often  used  on  guest  towels? 

9.  Work  out  an  original  design  for  an  embroidered  guest  towel. 

10.  What  is  a  gored  apron? 

11.  What  kind  of  material  is  suitable  for  a  boy's  baseball  suit? 
About  how  much  material  is  required? 

12.  What  method  may  be  used  to  make  a  name  or  monogram  on 
a  baseball  shirt? 

13.  Find  the  cost  of  a  ready  made  baseball  suit  as  given  in  any 
catalogue  of  athletic  goods  and  estimate  how  much  you  may  save 
by  making  it. 

14.  What  kind  of  material  is  used  for  petticoats? 

15.,     What  points  must  be  considered  in  making  a  petticoat? 

16.  Name  and  explain  how  to  make  at  least  four  stitches  which 
you  have  used  most. 

17.  Do  you  know  of  any  home  work  upon  which  you  might  use 
some  of  the  processes  learned  at  school?    Explain. 


198 

SUGGESTIONS  FOR  HOME  APPLICATION. 

1.  Examine  the  window  shades  at  home;   notice  whether  any 
of  them  have  become  worn  at  the  bottom,  or  badly  cracked  from 
switching  against  the  window  casing.    The  part  which  has  been  rolled 
most  of  the  time  will  be  less  worn,  so  by  turning  the  shade  opposite 
end  up  the  worn  part  will  be  hidden  wrhen  the  shade  is  rolled.    Re- 
move the  shade  from  the  roller;  trim  off  the  end  if  necessary  and 
turn  a  hem  wide  enough  to  allow  the  curtain  stick  to  slip  through  it 
easily;  cut  the  hem  off  at  the  bottom  and  tack  this  end  to  the  roller. 

2.  The  life  of  muslin  window  curtains,  which  have  become  worn 
at  the  lower  ends,  may  be  prolonged  by  cutting  off  the  worn  parts 
and  hemming  the  good  portions  for  sash  curtains.     These  curtains 
may  then  be  used  to  replace  others  that  are  worn  out.    See  if  any  of 
your  curtains  at  home  can  be  used  in  this  way.     If  they  can,  ask 
permission  to  do  the  work. 

3.  Stenciling  makes  a  very  pretty  decoration  for  bedroom  cur- 
tains, as  the  design  may  be  worked  in  colors  which  will  harmonize 
with  the  wall  paper  or  general  color  scheme  of  the  room.    Make  a 
pair  of  curtains  for  your  bedroom,  or  any  room  at  home;  decorate 
them  with  a  stencil  design. 

4.  Find  how  the   soiled   clothes   in  your  home   are   cared   for 
before  they  go  to  the  laundry.    If  your  room  is  not  already  provided 
with  a  laundry  bag,  make  one  and  see  that  it  gets  systematic  use. 

5.  Make  a  set  of  pillow  cases  for  your  room,  or  embroider  an 
appropriate  initial  or  monogram  on  a  pair  which  you  already  have. 

6.  A  very  serviceable  pillow  cover  may  be  made,  finished  with 
a  ruffle  of  the  same  material.    Make  such  a  pillow,  using  the  hemmer 
on  the  sewing  machine  in  hemming  the  ruffle. 

7.  Work  out  an  original  design  and  make  a  guest  towel  that 
wrould  be  suitable  for  a  birthday  or  holiday  gift. 

8.  Sort  over  the  garments  left  from  the  wardrobe  of  previous 
seasons  and  see  whether  there  are  any  wrash  dresses  which  have  been 
discarded  because  they  are  out  of  style.    .The  expense  of  buying  new 
material  may  be  saved  by  making  over  some  of  these  dresses  into 
aprons. 

NOTE:  You  should  use  judgment  in  making  over  garments,  as 
it  does  not  pay  to  spend  a  lot  of  time  making  over  a  garment  which 
is  badly  worn  or  in  which  the  material  is  not  strong. 

9.  Our  grandmothers  would  utilize  all  the  wrorn  and  discarded 


199 

garments  in  making  carpet  rags  which  were  woven  into  rugs  and 
carpets.  While  this  is  not  done  so  commonly  now-a-days,  you  may 
make  a  very  useful  and  attractive  rug  for  the  bathroom  or  kitchen 
by  simply  braiding  carpet  rags  and  sewing  the  braids  together  to 
form  circular,  oblong  or  oval  rugs.  To  do  this,  cut  cotton  material 
into  strips  about  2"  wide,  or  wool  material  into  strips  about  1"  wide; 
sew  the  ends  of  the  strips  together  and  wind  them  into  balls.  Braid 
the  strips  together  in  a  three-strand  braid  (the  braid  should  be  about 
1"  wide).  Use  coarse  thread  and  sew  the  edges  of  the  braid  together 
shaping  the  rug  as  you  sew. 


200 


INTRODUCTION  TO  SECTION  V 

THE  projects  of  this  section  deal  almost  entirely  with  garment 
making  beginning  with  some  of  the  elementary  ones  and  leading 
up  to  the  more  advanced  garments  wrhich  are  more  fully 
dealt  \vith  in  the  next  section.  The  paragraph  references  dealing  with 
the  elementary  stitches,  and  with  the  early  processes  of  sewing  are 
not  given  throughout  this  section;  such  references  are  given  which 
present  processes  that  have  occurred  only  rarely  in  the  preceding 
sections. 

Most  of  the  projects  call  for  the  use  of  patterns.  Satisfactory 
patterns  may  be  drafted  by  following  the  instructions  given  in  Chap- 
ter IV,  however,  it  may  be  found  advisable  to  purchase  commercial 
patterns  for  most  of  the  garments.  This  does  not  mean  that  the 
subject  of  pattern  drafting  may  be  ignored;  it  should  be  taken  up 
and  carefully  studied  so  that  every  student  may  get  a  clear  conception 
of  how  patterns  are  made,  what  measurements  are  necessary  and 
just  howr  they  are  applied.  A  careful  consideration  of  this  subject  is 
very  essential  in  order  that  the  girls  may  be  prepared  to  alter  and 
modify  various  commercial  patterns  from  time  to  time.  Styles  are 
continually  changing,  but  such  changes  deal  for  the  most  part  with 
minor  details;  the  fundamental  principles  of  pattern  drafting  and 
garment  making  remain  unchanged. 

It  is  not  desirable  to  teach  girls  a  set  routine  of  mechanical 
operations  whereby  they  may  produce  a  certain  pattern,  indeed  the 
garment  may  be  out  of  style  before  they  can  learn  to  make  it. 

If  they  learn  that  the  pattern  is  merely  a  means  to  an  end — that 
judgment  and  good  taste  are  always  the  all  important  matters — that 
they  are  striving  to  acquire  ability  which  will  enable  them  to  take 
the  means  at  hand  and  produce  satisfactory  results — there  need  be 
little  uneasiness  as  to  whether  patterns  are  bought  or  made. 


201 


COMBING 
JACKET 

MATERIALS. 

Turkish  Toweling  (Chap.  I, 
Par.  35). 

1  turkish  towel,  22"  wide,  48" 
long. 

2V2  yards  ribbon  (color  de- 
sired). 

Rope  embroidery  floss  to 
match  ribbon. 


INTRODUCTORY  STATEMENT. 

A  combing  jacket,  as  its  name  indicates,  is  a  small,  loose  garment 
which  can  be  slipped  on  and  off  easily  during  the  preparation  of  the 
toilet;  many  girls  and  women  prefer  it  to  the  kimono.  It  should 
be  loose  and  comfortable,  as  it  is  worn  only  in  the  privacy  of  the 
girl's  room. 

If  an  elaborate  garment  is  desired,  dainty  shades  of  crepe  de 
Chine  or  wash  silk  may  be  used,  and  many  of  the  decorative  stitches 
may  be  employed,  but  the  art  of  making  exquisite  materials  from 
cotton  has  reached  a  stage  where  we  no  longer  have  to  use  expensive 
silk  to  get  beautiful  effects.  Sheer  cotton  material  may  be  used  and 
trimmed  with  lace,  or,  if  a  more  serviceable  jacket  is  desired,  heavier 
cotton  materials  may  be  used. 

The  combing  jacket  in  this  lesson  is  made  from  a  piece  of  towel- 
ing, it  is  therefore  inexpensive,  but  when  carefully  and  neatly  com- 
pleted will  be  found  very  dainty  and  attractive. 


References : 

Textiles   and   Dress,   Ohio    State   UniversitjT   Ex.   Bulletin. 
Pattern   Making  by  Paper  Folding,  Heath.     London. 


202 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SILK  COMBING  JACKET. 

No.  1.  This  combing  jacket  is  made  of  a  strip  of  bordered  silk 
cut  like  the  one  shown  in  the  lesson  except  that  the  neck  is  rounded 
out  instead  of  having  the  flaps  turned  back.  The  silk  is  joined  in  a 
seam  at  the  back;  the  edges  are  finished  with  embroidered  scallops. 
It  is  fastened  together  under  the  arms  with  bows  of  ribbon  and  in 
the  front  with  two  snaps  over  which  bows  of  ribbon  are  sewed. 

WOOL  CHALLIE  COMBING  JACKET. 

No.  2.  This  combing  jacket  may  be  cut  from  the  pattern  of  a 
kimono  night  gown.  It  should  be  flared  under  the  arms  a  trifle  more 
than  for  the  gown.  The  back  is  pointed  at  the  bottom  like  the  front. 
The  neck  is  finished  with  a  rolling  collar.  The  bottoms  of  the  sleeves 
and  the  body  of  the  combing  jacket  are  finished  with  a  hem,  the  top 
of  which  is  outlined  on  the  outside  with  featherstitching.  There  are 
six  eyelets  worked  in  the  edges  of  the  front  hem  through  which  nar- 
row ribbon  is  laced  to  hold  the  garment  closed  in  front. 


203 
WORKING  DIRECTIONS  FOR  COMBING  JACKET 

PREPARING  MATERIAL. 

The  size  of  the  towel  used  in  making  this  combing  jacket  will 
depend  on  the  size  of  the  girl  for  whom  the  jacket  is  made.  As  these 
towels  may  be  purchased  in  different  sizes,  it  will  not  be  necessary  to 
cut  one  narrower  for  the  jacket.  However,  if  desired,  and  the  towel 
is  long  enough,  the  smoothly  woven  border  usually  found  on  the  end 
of  these  towels  may  be  cut  off.  In  the  combing  jacket  shown  in  the 
illustration  the  border  on  the  end  of  the  towel  used  for  the  front  of 
the  garment  was  cut  off.  When  finished  the  jacket  should  be  long 
enough  to  reach  below  the  waist  line  in  the  back  and  front. 

CUTTING  OUT  THE  COMBING  JACKET. 

No  pattern  is  required  for  this  combing  jacket.  It  is  made  by 
cutting  the  towel  lengthwise  in  the  center,  a  trifle  more  than  half  its 
length;  for  the  neck  opening,  it  is  cut  crosswise  a  short  distance  from 
the  center  toward  each  side  near  the  shoulder  line. 

To  make  a  jacket  for  a  girl  or  woman  of  medium  size,  fold  the 
towel  in  the  center,  lengthwise;  measure  up  on  this  fold  from  the 
end  of  the  towel  which  is  to  be  used  for  the  front  22";  mark  with 
a  pin,  cut  on  the  crease  up  to  the  pin  for  the  front  opening.  To 
make  the  opening  for  the  neck,  measure  up  from  the  same  end  17", 
mark  with  a  pin  and  cut  a  line  2"  long  perpendicular  to  the  crease 
through  both  thicknesses  of  the  towel. 

FINISHING  THE  EDGES. 

On  all  the  cut  edges  of  the  towel,  fold  and  baste  a  hem  the  same 
width  as  the  selvages  on  the  outside  edges  of  the  towel  (do  not  make 
a  first  turning  in  the  hem  as  the  edges  of  the  hem  will  not  ravel  after 
it  is  blanket  stitched  and  the  extra  turnings  will  make  it  too  heavy). 
Using  rope  embroidery  cotton,  which  is  very  coarse  and  heavy,  blan- 
ket stitch  entirely  around  the  edges  of  the  combing  jacket,  making 
the  stitches  about  ^4"  deep  and  *4"  apart  (Chap.  II,  Par.  128).  Fine 
stitches  and  fine  thread  would  not  be  effective  on  this  rough,  heavy 
material.  Turn  back  the  points  at  the  neck  far  enough  to  make  the 
jacket  set  nicely  and  sew  them  in  place  with  three  or  four  stitches 
taken  up  and  down  through  both  the  material  and  the  flaps. 


204 


JOINING  UNDER  ARMS. 

This  combing  jacket  is  made  without  any  seams  and  is  held  to- 
gether under  the  arms  with  ribbon  tied  in  bows.  To  put  on  the 
ribbon,  measure  up  from  the  bottom  of  the  combing  jacket  on  one 
edge  9";  mark  writh  a  pin;  turn  in  the  end  of  a  piece  of  ribbon  about 
14"  long  and  \"  wide  and  hem  it  to  the  wrong  side  of  the  combing 
jacket  (allowr  it  to  overlap  the  edge  about  V-?").  In  the  same  manner 
sew  another  piece  of  ribbon  the  same  length  on  the  opposite  edge  of 
the  jacket.  On  the  other  side  of  the  jacket  sew  on  two  ribbons  in 
the  same  manner. 

On  the  front  opening  find  the  place  where  you  desire  the  jacket 
to  be  fastened;  sew  two  ribbons  each  ^2  yard  long  on  the  opposite 
edges  of  this  opening  in  the  same  manner. 


205 


NIGHT  GOWN 

MATERIALS. 

Nainsook  (Chap.  I,  Par.  28) 
or 

Long  Cloth  (Chap.  I,  Par.  24) 
or 

Muslin  (Chap.  I,  Par.  27). 

1  piece  of  Nainsook  twice  the 
length  of  the  measurement 
from  shoulder  to  floor, 
plus  5"  for  hems. 


INTRODUCTORY  STATEMENT. 

Not  many  years  ago,  before  the  manufacture  of  cotton  had 
reached  its  present  high  degree  of  perfection,  girls  were  very  glad 
to  have  plain,  substantial  night  gowns  made  of  unbleached  muslin 
in  summer  and  outing  flannel  in  winter.  Now,  however,  most  girls 
take  almost  as  much  pride  in  their  night  dresses  as  they  do  in  the 
selection  of  their  outer  garments.  Each  girl's  wardrobe  usually  con- 
tains two  kinds  of  night  gowns;  some  which  will  stand  service  and 
laundering  and  some  lighter  ones  for  special  occasions.  The  kind  for 
service  should  be  made  of  firm  wash  material,  such  as  cambric,  long 
cloth,  or  repplette  which  is  easily  cared  for  because  it  requires  no 
ironing. 

The  project  given  in  this  lesson  is  an  excellent  one  to  precede 
dressmaking  work  in  which  straight  seams  are  absolutely  necessary 
to  give  a  fine  appearance  to  the  garment.  The  night  gown  has  long 
seams  and  gives  good  practice  in  machine  stitching.  The  design 
shown  above  is  made  along  simple  lines  writh  kimono  sleeves.  If 
set-in  sleeves  are  preferred,  they  may  be  used. 


References : 

Sewing  Club  Bulletin,  Ex.  Division,  Kansas  State  Agricultural  College. 
Suggestions    for    Sewing    Schools,   Patterson. 


206 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


OUTING  FLANNEL  NIGHT  GOWN. 

No.  1.  As  this  night  gown  is  made  for  warmth,  it  has  long 
•sleeves  and  a  collar  which  fits  closely  around  the  neck.  The  yoke, 
into  which  the  body  of  the  night  gown  is  gathered,  is  made  double. 

CHEMISE. 

No.  2.  This  may  be  made  from  a  kimono  night  gown  pattern  by 
curving  it  in  at  the  armholes  and  allowing  extra  fullness  in  the  front. 
It  is  finished  at  the  top  with  a  curved  band  of  all-over  embroidery. 

HANDMADE  NIGHT  GOWN. 

No.  3.  This  illustration  shows  an  elaborate  gown  with  a  lace 
yoke  and  sleeves.  The  ribbon  is  run  through  long  eyelets  just  below 
the  armholes. 

HAND  EMBROIDERED  NIGHT  GOWN. 

No.  4.  This  night  gown  is  trimmed  with  set-in  lace  insertion  and 
embroidered  scallops  around  the  neck  and  sleeves.  The  ribbon  is 
run  through  long  eyelets.  Such  a  garment  presents  an  opportunity 
for  the  employment  of  a  great  deal  of  beautiful  handwork. 


207 
WORKING  DIRECTIONS  FOR  NIGHT  GOWN 

PREPARING  MATERIAL. 

Shrink  the  material  by  wetting  it,  partially  drying  it  and  ironing 
it  until  dry. 

CUTTING  OUT  THE  NIGHT  GOWN. 

Draft  a  pattern  for  a  kimono  night  gown  (Chap.  IV),  or,  if  de- 
sired, you  may  use  a  commercial  pattern.  If  a  commercial  pattern 
is  used,  study  carefully  the  guide  chart  and  all  directions  which 
accompany  it.  This  night  gown  is  made  without  seams  on  the  shoul- 
ders, the  back  and  front  being  cut  alike,  hence  one-half  the  pattern 
for  the  front  of  the  night  gown  will  be  sufficient  to  use  in  cutting 
it  out.  To  prepare  the  material  for  cutting,  fold  it  lengthwise  in  the 
center,  making  the  selvages  even;  then  fold  it  crosswise  in  the  center. 
Lay  the  straight  edge,  or  center  front  of  the  pattern  on  the  lengthwise 
fold  of  the  goods  with  the  top  of  the  shoulder  even  with  the  crosswise 
fold.  Pin  it  in  several  places  to  keep  it  from  slipping.  Cut  out  the 
night  gown  (do  not  cut  the  cloth  at  the  top  of  the  shoulder  or  on  the 
center  fold) ;  remove  the  pattern. 

JOINING  SEAMS. 

The  only  seams  necessary  in  this  garment  are  the  ones  under  the 
arms.  French  seams  may  be  used.  To  make  them,  baste  the  edges 
of  the  material  together  on  the  right  side  and  follow  the  directions  in 
Chap.  II,  Par.  137.  To  keep  the  seams  from  puckering  under  the  arms, 
make  tiny  crosswise  cuts  on  the  edge  of  the  first  seam  around  the 
curves. 

FINISHING  THE  NECK  AND  SLEEVES. 

The  neck  and  sleeves  of  this  night  gown  are  to  be  finished  with 
lace  beading.  You  may  finish  the  raw  edges  with  narrow  hems. 
Stitch  on  the  sewing  machine  or  hem  by  hand.  Overhand  the  lace  on 
the  edge  of  the  hems.  Join  the  lace  as  in  Chap.  II,  Par.  148. 

If  desired,  the  neck  may  be  finished  with  bias  tape.  To  sew  on 
this  tape,  lay  the  right  side  of  the  tape  on  the  wrong  side  of  the 
material,  with  one  edge  even  with  the  edge  of  the  neck.  Baste  with 
short  stitches  along  the  line  of  the  crease,  turn  it  to  the  right  side, 
baste  it  down  and  stitch  on  both  edges.  Overhand  the  lace  on  the 
edge  and  join  it  as  suggested  above. 

If   embroidered   beading   is   preferred,   sew   it   on  the   neck   and 


208 

sleeves  with  a  lapped  seam  (Chap.  II,  Par.  139).  Make  tiny  crosswise 
cuts  in  the  turned  edges  where  the  seam  curves  (if  this  is  not  done 
the  seam  is  likely  to  pucker  around  the  curve). 

FINISHING  THE  BOTTOM. 

Have  someone  even  the  gown  around  the  bottom  (the  night  gown 
should  just  clear  the  floor).  Make  the  hem  about  2"  wide.  Even  it, 
using  a  gauge  as  a  guide  (a  strip  of  cardboard  the  width  desired  for 
the  hem),  baste  the  bottom  of  the  hem  even  as  turned.  Turn  in  the 
raw  edges,  pin  and  baste  in  place  removing  the  extra  fullness  at  the 
top  of  the  hem  by  laying  small  pleats  in  it.  Sew  the  hem  in  place  with 
machine,  or  with  hemming  stitches. 


209 


KIMONO 

MATERIALS. 

Outing  Flannel  (Chap.  I,  Par. 
30),  or 

Silk  (Chap.  I,  Par.  70). 

About  3  yards  of  30"  or  36" 

material. 
About  4  yards  of  narrower 

material. 


INTRODUCTORY  STATEMENT. 

While  the  kimono  is  worn  by  the  women  of  Japan  on  all  occa- 
sions, the  women  of  America  use  it  as  a  negligee  gown,  as  its  long, 
loose  flowing  lines  make  it  very  appropriate  for  that  purpose.  It 
should  not  be  worn  as  a  house  dress  for  it  gives  an  untidy  appearance 
instead  of  the  look  of  comfort  which  it  has  when  worn  properly. 

The  kimono,  like  the  combing  jacket,  may  be  varied  in  many 
ways  to  suit  the  taste  of  the  wearer.  Silk,  crepe  de  Chine,  cotton  crepe, 
hand  embroidery,  beautiful  lace  and  ribbon,  all  play  an  important 
part  in  beautifying  kimonos,  but  just  as  in  other  styles  of  dress,  judg- 
ment must  be  used  in  selecting  the  proper  material  so  in  selecting 
material  for  a  kimono,  careful  thought  should  be  given  to  the  use  for 
which  it  is  designed.  Cotton  crepe  in  the  plain  colors,  also  in  figured 
materials,  is  one  of  the  most  common  materials  used  for  a  serviceable 
kimono.  Where  a  thinner  garment  is  desired,  figured  lawn  and 
dimities  are  used. 

The  kimono  in  this  lesson  is  designed  for  a  school  girl  and  the 
material  is  suggested  with  that  idea  in  view. 


References: 

Art  as  Applied  to  Dress,  Higgins. 
Color,   Dress   and   Needlework,   Crane. 


210 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


OUTING  FLANNEL  KIMONO. 
No.  1.     This  kimono  is  made  with  a  shawl  collar  and  turned  back 


cuffs  finished  with  ribbon  binding, 
one  shown  in  the  lesson. 


It  may  be  made  the  same  as  the 


CREPE  KIMONO 

No.  2.  This  kimono  is  made  with  a  yoke  on  which  the  body  of 
the  kimono  is  shirred.  The  upper  part  of  the  kimono  may  be  made 
from  the  kimono  night  gown  pattern;  the  other  part  is  simply  made 
of  three  straight  pieces  of  material  sewed  together  and  gathered  at 
the  top.  More  decorative  effects  can  easily  be  worked  into  this 
design  if  desired. 


211 

WORKING  DIRECTIONS  FOR  KIMONO 

CUTTING  OUT  THE  KIMONO. 

As  this  kimono  is  made  like  a  kimono  night  gown  with  the  ex- 
ception of  the  neck,  you  may  draft  a  kimono  night  gown  pattern  or  if 
desired,  you  may  use  a  commercial  pattern.  If  a  commercial  pattern 
is  used,  study  carefully  the  guide  chart  and  all  directions  which 
accompany  it. 

This  kimono  is  made  without  seams  on  the  shoulders,  the 
back  and  front  being  cut  alike,  hence  one-half  of  the  pattern  for  the 
front  of  the  kimono  will  be  sufficient  to  use  in  cutting  it  out.  To 
prepare  the  material  for  cutting,  fold  it  lengthwise  in  the  center, 
making  the  selvages  even.  Fold  it  crosswise  in  the  center,  lay  the 
straight  edge  or  center  front  of  the  pattern  on  the  lengthwise  fold  of 
the  goods  with  the  top  of  the  shoulder  even  with  the  crosswise  fold. 
Pin  it  in  several  places  to  keep  it  from  slipping. 

If  the  material  is  not  wide  enough  at  the  bottom,  extra  pieces 
should  be  pinned  to  the  edge  of  the  goods  to  make  it  the  desired 
width.  If  the  material  is  very  narrow,  as  is  sometimes  the  case  with 
silk,  it  may  be  necessary  to  use  two  widths  of  cloth  for  the  front  and 
two  for  the  back.  This  will  make  a  seam  dowrn  the  center  back. 

JOINING  SEAMS. 

If  it  is  necessary  to  piece  the  material  under  the  arms,  sew  the 
extra  pieces  to  the  proper  edges  of  the  material  with  a  plain  seam  if 
the  edges  are  selvage,  or  if  the  edges  are  raw,  use  a  French  seam.  If 
necessary  to  place  a  seam  in  the  center  back,  use  a  plain  seam  to  join 
selvage  edges  or  a  French  seam  to  join  raw  edges. 

FINISHING  THE  FRONT  AND  NECK. 

The  edges  of  the  opening  in  this  kimono  were  faced  with  length- 
wise strips  of  the  material  cut  IVk"  wide,  turned  to  the  wrong  side. 
Ribbon  may  be  used  very  satisfactorily  by  turning  the  raw  edge  %" 
toward  the  right  side  and  basting  the  ribbon  over  it  even  with  the 
folded  edge.  It  should  be  stitched  on  both  edges.  This  facing  should 
extend  about  \Vi"  above  the  point  wrhere  the  collar  begins. 

The  collar  for  the  kimono  is  made  of  a  contrasting  color  and 
should  be  made  double ;  it  may  be  cut  freehand  or  from  a  commercial 
pattern.  To  sewr  it  on,  place  the  center  back  of  the  collar  and  the 
kimono  together,  with  the  under  side  of  the  collar  on  the  right  side  of 


212 

the  kimono  and  its  edges  even  with  the  neck  of  the  kimono  at  the 
back.  Baste  them  together  with  1/4"  seam.  Stitch,  remove  bastings. 
Turn  the  seam  inside  of  the  two  thicknesses  of  the  collar.  Turn  in 
the  edge  at  the  top  of  the  collar  enough  to  allow  it  to  cover  the 
stitching;  baste  and  hem  in  place.  Be  careful  to  finish  the  end  of  the 
collar  neatly,  also  the  ends  of  the  facing. 

CUFFS. 

The  cuffs  are  made  of  the  same  material  of  wrhich  the  collar  is 
made.  To  make  them,  cut  two  strips  of  the  material  5"  wide,  the 
width  of  the  bottom  of  the  sleeve  plus  1"  for  seams.  Join  the  ends 
of  each  piece  with  a  plain  seam;  sew  a  piece  on  the  bottom  of  each 
sleeve  in  the  same  way  that  you  sewed  on  the  collar,  making  it  double. 
Turn  the  folded  edge  back  over  the  sleeve  of  the  kimono  to  form  a 
sort  of  cuff. 

THE  HEM. 

Put  on  the  kimono,  have  someone  even  it  around  the  bottom  the 
distance  desired  from  the  floor,  and  pin  the  hem  in  place.  Baste  it 
around  the  bottom  edge;  trim  it  off  even  the  desired  width,  turn  in 
the  raw  edge,  baste  the  top  in  position  removing  extra  fullness  by 
laying  small  pleats  in  the  top  of  the  hem;  stitch  in  position,  unless 
the  material  is  silk;  the  hem  on  a  silk  kimono  should  be  hemmed  by 
hand.  Overhand  the  open  ends  of  the  hems  together. 

This  kimono,  when  worn,  may  be  fastened  with  a  fancy  pin  or 
with  two  or  three  snaps  placed  below  the  end  of  the  collar  (Chap.  II, 
Par.  133). 


213 

PRINCESS  SLIP 

MATERIALS. 

Nainsook  (Chap.  I,  Par.  28), 
or 

Cambric  (Chap.  I,  Par.  6),  or 
Long  Cloth  (Chap.  I,  Par.  24). 

Nainsook,  the  amount  called 
for  in  the  pattern. 

Thread  No.  90. 

Bias  Tape. 

Snaps  or  buttons. 

Lace  beading,  the  amount 
called  for  in  pattern. 

Ribbon  or  lingerie  tape 
(about  2V2  yards). 

INTRODUCTORY  STATEMENT. 

Every  well  groomed  woman  is  very  particular  to  see  that  outside 
garments  fit  without  wrinkles  and  with  a  glove-like  appearance  across 
the  hips  and  back.  There  is  only  one  way  to  accomplish  this  result, 
and  that  is  to  have  the  under  garments  without  fullness  or  wrinkles. 
If  there  is  a  tendency  towards  a  large  waist  in  proportion  to  the  size 
of  the  hips,  all  bands  around  the  waist  must  be  fitted  to  avoid  increas- 
ing its  size.  The  fitted  princess  slip  has  come  into  use  to  overcome 
this  difficulty  for  it  is  so  made  that  the  under  skirt  and  corset  cover 
make  a  continuous  line  from  the  shoulder  to  the  bottom  of  the  skirt. 

The  trimming  for  the  upper  part  of  the  waist  may  be  made  as 
elaborate  as  desired  because  the  slip  takes  the  place  of  the  regular 
corset  cover.  The  bottom  of  the  slip  may  be  trimmed  with  ruffles, 
with  lace,  with  rows  of  insertion  sewed  together  to  make  a  flounce, 
with  embroidery,  with  beading  and  insertion,  or  may  even  be  left 
plain.  Young  girls  who  are  wearing  gathered  or  pleated  skirts  often 
prefer  a  slip  made  similar  to  the  slip-over  night  dress,  without 
sleeves,  but  this  garment  is  not  very  satisfactory  where  smooth  fitting 
skirts  are  worn  on  the  outside. 


References: 

The  Dressmaker.     Butterick  Publishing  Co.,  N.  Y. 

The  Sewing  Book,  Anne  Jessup.     Butterick  Publishing  Co.,  N.  Y. 


214 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


PRINCESS  SLIP. 

No.  1.  This  princess  slip  may  be  made  from  the  same  kind  of 
pattern  as  the  one  in  the  lesson.  The  upper  part  is  finished  with  a 
band  of  insertion  set  in  with  lace;  the  neck  and  armholes  are  finished 
with  lace  beading.  The  band  of  insertion  in  the  bottom  of  the  skirt 
is  stitched  or  overhanded  to  the  lace  insertion,  which  is  in  turn 
stitched  to  the  material  in  the  princess  slip.  The  material  is  cut 
out  under  the  trimming. 

FANCY  PRINCESS  SLIP. 

No.  2.  This  shows  the  back  view  of  a  princess  slip  made  very 
(much  like  the  one  in  the  lesson.  The  hand  crocheted  yoke  makes  a 
handsome  trimming  for  the  top  of  the  garment.  The  yoke  is  hemmed 
onto  the  garment  and  the  material  is  cut  away  to  about  %";  this  edge 
is  turned  under  and  hemmed  making  a  very  narrow  hem. 


215 
WORKING  DIRECTIONS  FOR  PRINCESS  SLIP 

PREPARING  MATERIAL. 

Shrink  the  material  by  wetting  it,  partially  drying  it,  then  ironing 
it  until  thoroughly  dry. 

CUTTING  OUT  THE  PRINCESS  SLIP. 

As  the  pattern  for  a  princess  slip  is  difficult  to  draft  you  are  to 
use  a  commercial  pattern.  Carefully  study  the  guide  chart  and 
directions  which  accompany  the  pattern.  If  a  ruffle  is  to  be  set  on 
the  bottom  edge  of  the  slip,  turn  up  the  pattern  at  the  bottom  the 
width  of  the  ruffle  you  wish  to  use  (always  allow  at  least  2"  extra 
length  for  making).  Cut  the  strips  for  the  ruffle  the  desired  width, 
making  it  one  and  one-fourth  to  one  and  a  half  times  as  long  as 
the  skirt  is  wide  at  the  bottom. 

JOINING  SEAMS. 

Either  French  or  felled  seams  (Chap.  II,  Par.  137-138)  may  be 
used  to  join  the  seams  on  this  garment.  With  this  in  mind,  baste  the 
seams  together,  put  on  the  garment  and  have  it  fitted,  marking  the 
lines  of  the  fitting  with  pins.  The  garment  may  be  hung,  or  evened, 
at  the  bottom  at  this  time.  Remove  the  princess  slip,  baste  along  the 
lines  of  the  fitting  and  finish  the  seams,  leaving  an  opening  at  the 
top  of  the  center  front  or  back  seam  long  enough  to  allow  the  garment 
to  slip  over  the  head  easily. 

PLACKET. 

Finish  the  placket  opening  with  an  extension  placket  (Chap.  II, 
Par.  162).  To  fasten  it  together,  sew  about  6  snaps  (Chap.  II,  Par. 
133)  on  the  placket  or  work  the  same  number  of  buttonholes  and  sew 
on  small  pearl  buttons  to  correspond  with  them. 

ARMHOLES. 

Finish  the  armholes  with  bias  strips  of  the  material  cut  about  1" 
wide  (Chap.  II,  Par.  143).  (In  joining  the  strips,  follow  directions  in 
Chap.  II,  Par.  144),  (a  fitted  facing  made  a  little  wider  at  the  bottom 
than  at  the  top  may  be  used).  Overhand  lace  on  the  edge  of  the  arm- 
hole  after  it  is  faced  (Chap.  II,  Par.  112),  joining  the  lace  carefully  as 
directed  in  Chap.  II,  Par.  148. 


216 

FINISHING   THE  NECK. 

Make  a  narrow  hem  around  the  curve  in  the  neck  and  overhand 
lace  beading  on  the  edge.  Finish  the  ends  of  the  lace  with  narrow 
hems  and  run  ribbon  through  them. 

PUTTING  ON  THE  RUFFLE. 

Sew  the  strips  of  the  ruffle  together,  using  plain  seams  to  join 
the  selvage  edges  and  felled  seams  to  join  the  raw  edges.  Make  a 
narrow7  hem  on  one  edge,  using  the  hemmer  on  the  sewing  machine; 
if  desired  you  may  baste  the  hem  and  stitch  it.  Divide  the  bottom 
of  the  skirt  in  four  equal  parts  (this  skirt  should  be  cut  off  even  as 
marked  when  it  was  hung).  Gather  the  ruffle  and  baste  it  onto  the 
edge  as  directed  in  Chap.  II,  Par.  141  and  142.  The  raw  edges  may 
be  finished  with  a  bias  tape  or  French  seam.  If  a  French  seam  is 
used,  there  should  be  two  rows  of  gathering  threads  in  the  ruffle  so 
the  second  row  of  stitching  can  be  made  through  the  second  row  of 
gathers.  If  bias  tape  is  used,  lay  it  on  the  right  side  of  the  gathers 
with  the  edges  even,  baste  in  place  along  the  crease;  turn  it  over 
making  it  lie  flat  over  the  raw  edges  of  the  skirt  and  ruffle;  baste 
it  in  place  and  stitch  on  both  edges.  Remove  bastings. 


217 

RUFFLED  PETTICOAT 

MATERIALS. 
Long  Cloth  (Chap.  I,  Par.  24). 

1  piece  of  long  cloth  twice 
the  length  of  the  skirt, 
plus  the  width  of  the  hem. 

About  21/4  yards  embroidery 
(amount  will  depend  on 
fullness  of  ruffle  and 
width  of  skirt. 

Lace  (about  2  yards)  for  bot- 
tom of  skirt. 

Thread   No.   80. 

Pattern  for  3  or  5  gored  skirt 
(commercial  or  drafted 
pattern). 


INTRODUCTORY  STATEMENT. 

While  plain  petticoats  are  necessary  for  everyday  wear,  the 
summer  dress,  party  dress,  or  silk  gown  calls  for  a  trimmed  under- 
skirt. The  body  of  this  skirt  may  be  made  of  white  percale,  nainsook, 
long  cloth  or  cambric. 

The  style  of  the  ruffled  petticoat,  the  same  as  the  plain,  varies 
according  to  the  style  of  the  outside  skirt.  Wide  petticoats  with  full 
ruffles  come  into  use  with  the  fuller  dress  skirts,  while  narrow  petti- 
coats with  scant  ruffles  are  desirable  with  the  narrower  dress  skirts. 

The  ruffle  on  the  skirt  may  be  made  of  rows  of  lace  and  insertion 
sewed  together  by  hand,  or  lapped  slightly  and  stitched  on  the  ma- 
chine and  finished  with  a  lace  edge;  or  it  may  be  made  with  lawn 
or  fine  cotton  material  trimmed  with  a  lace  edge,  or  one  or  more  rows 
of  lace  insertion,  depending  on  the  desired  width  of  the  ruffle. 

The  petticoat  presented  in  this  lesson  is  trimmed  with  embroidery 
flouncing,  care  should  be  taken  to  select  embroidery  with  a  firm  edge, 
otherwise  it  will  not  wear  well. 


References: 

Textiles,   Woolman   and    McGowan.      Macmillan   Co. 
Goodwin's  Course  in  Sewing.     Beattys  Co.,  N.  Y. 


218 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


No.  1.    Fancy  Petticoat 


No.  2.     Child's  Petticoat. 


FANCY  PETTICOAT. 

No.  1.  This  petticoat  is  finished  with  an  under  ruffle  edged  with 
lace.  The  top  ruffle  of  the  skirt  is  made  by  joining  rows  of  lace  in- 
sertion with  strips  of  lawn.  The  easiest  way  to  do  this  is  to  stitch  the 
lace  in  rows  equally  distant  from  each  other  on  a  strip  of  lawn  or 
nainsook  the  width  desired  for  the  ruffle.  The  lawn  is  then  cut  out 
under  the  insertion  and  the  edges  are  turned  back  and  stitched  in 
a  narrow  hem. 

While  a  band  or  fitted  top  is  preferable  in  a  petticoat,  a  draw 
string  is  sometimes  used  to  make  a  skirt  adjustable  to  different  sized 
waists.  This  skirt  is  provided  with  such  a  draw  string. 

CHILD'S  PETTICOAT. 

No.  2.  The  upper  part  of  this  skirt  may  be  made  by  using  a 
waist  pattern  which  fits  the  child.  The  armholes  and  neck  are  faced 
with  bias  strips  of  the  same  material.  The  bias  ruffle  is  set  on  with 
a  bias  band  of  the  material.  The  ruffle  is  hemmed  with  the  sewing 
machine.  A  child's  skirt  should  have  tucks  so  placed  that  they  may 
be  let  out  to  provide  the  length  which-  is  needed  as  the  child  grows. 


219 
WORKING  DIRECTIONS  FOR  RUFFLED  PETTICOAT 

PREPARING  MATERIAL. 
Shrink  the  material. 

CUTTING  OUT  THE  SKIRT. 

You  may  use  a  three  or  five  gored  skirt  pattern  drafted  according 
to  directions  in  Chap.  IV,  or,  if  desired,  you  may  use  a  commercial 
pattern.  If  a  commercial  pattern  is  used,  study  carefully  the  guide 
chart  and  directions  which  accompany  it.  If  you  use  a  drafted  pat- 
tern, place  the  center  front  of  the  front  gore  on  a  lengthwise  fold  of 
the  material.  The  other  pieces  may  be  cut  two  at  once,  as  a  rule. 
You  should  be  careful  to  have  the  straight  edges  of  the  pattern  parallel 
with  the  warp  threads  of  the  goods.  Any  notches  which  indicate 
the  places  where  the  seams  are  to  be  joined  should  be  cut  very  small, 
or  marked  with  a  pencil. 

JOINING  SEAMS. 

This  skirt  should  be  joined  with  felled  seams.  Pin  and  baste  the 
gores  together,  matching  them  according  to  the  notches;  keep  them 
even  at  the  top,  leave  an  opening  10"  or  12"  from  the  top  of  the  back 
seam  for  the  placket  opening.  Try  on  the  skirt,  make  the  necessary 
alterations,  mark  them  with  pins  placed  close  together  lengthwise. 
NOTE :  Be  careful  that  the  seams  over  the  hips  do  not  slant  forward 
or  backward  at  the  top;  see  that  the  skirt  hangs  straight  down  the 
front,  if  it  falls  forward  at  the  bottom,  raise  the  skirt  at  the  back 
waist  line,  be  careful  not  to  make  the  skirt  too  tight  around  the  hips; 
sit  down  and  see  that  it  fits  easily  around  the  hips  when  seated. 
Remove  the  skirt  and  rebaste,  finish  the  seams.  Finish  the  placket 
opening  with  a  bound  placket  (Chap.  II,  Par.  161)  or  an  extension 
placket  (Chap.  II,  Par.  162). 

FINISHING  THE  TOP. 

As  the  material  in  this  skirt  is  not  heavy,  a  band  is  used  to  finish 
it  at  the  top.  For  the  band,  tear  off,  or  cut  a  strip  of  material  2x/2" 
wide  and  2"  longer  than  the  waist  measure.  Turn  in  one  raw  edge; 
put  on  the  skirt;  place  the  center  of  the  band  on  the  center  front  of 
the  skirt,  the  folded  edge  overlapping  the  top  edge  of  the  skirt.  Pin 
the  band  in  position,  turning  in  the  ends  even  with  the  back  opening. 
(The  skirt  should  be  made  even  around  the  bottom  while  you  have 
it1  on).  Remove  the  skirt  and  baste  on  the  edge  of  the  band,  fold  the 


220 

other  edge  of  the  band  over  to  the  wrong  side  exactly  opposite  the 
edge  on  the  right  side,  pin,  baste  and  stitch  all  round  the  edges 
of  the  band. 

Sew  one  hook  and  eye  on  the  ends  of  the  belt  and  three  snaps  on 
the  placket  (Chap.  II,  Par.  133). 

FINISHING  THE  BOTTOM  OF  THE  SKIRT. 

Make  a  narrow  hem  in  the  bottom  of  the  skirt  and  overhand 
narrow7  lace  on  the  edge,  joining  the  ends  of  the  lace  as  in  Chap.  II, 
Par.  148  or,  if  desired,  a  narrow  embroidery  may  be  sewed  on  the 
edge  with  a  lapped  seam  (Chap.  II,  Par.  139).  Join  ends  of  em- 
broidery with  a  felled  seam. 

THE  RUFFLE. 

Join  embroidery  with  a  felled  seam  (stitched  or  hemmed).  Di- 
vide the  ruffle  in  four  parts,  marking  each  part  with  a  pin;  gather 
each  part.  Divide  the  skirt  in  four  parts,  place  it  over  the  end  of  an 
ironing  board  (if  possible);  pin  the  quarters  of  the  ruffle  to  the 
corresponding  quarters  of  the  skirt;  adjust  the  gathers,  baste  the  ruffle 
on  the  skirt,  making  the  bottom  of  the  scallops  of  the  embroidery 
even  with  the  bottom  of  the  skirt.  Baste  bias  tape  smoothly  over  the 
gathered  edge  of  the  ruffle  making  one  edge  even  with  the  gathering 
threads.  Join  the  bias  tape  (Chap.  II,  Par.  144)  and  stitch  it  on 
both  edges. 


221 

CAMBRIC  CORSET  COVER 


MATERIALS. 

Cambric  (Chap.  I,  Par.  6),  or 
Long  Cloth  (Chap.  I,  Par.  24) 

or 
Nainsook  (Chap.  I,  Par.  28). 

About  1  yard  of  cambric. 
About  2x/2  yards  of  embroid- 
ery  beading. 
Thread  No.  70. 
1  hook  and  eye,  or  3  buttons. 
2V2  yards  lingerie  tape. 


INTRODUCTORY  STATEMENT. 

The  corset  cover,  as  its  name  implies,  is  primarily  worn  to  pro- 
tect the  corset;  it  also  serves  to  improve  the  appearance  of  the  outside 
waist.  There  is  practically  no  end  to  the  styles  in  corset  covers;  in 
fact,  there  are  almost  as  many  as  there  are  women  to  wear  them,  but 
in  the  end  they  all  serve  the  purpose  named  above  whether  they  are 
made  of  beautiful  lace  flouncing,  embroidery  flouncing,  lace  trimmed 
nainsook,  lawn,  hand  embroidered  linen  or  delicate  shades  of  crepe 
de  Chine. 

The  corset  cover  shown  in  this  lesson  is  designed  for  service  and 
for  that  reason  is  made  of  substantial  cotton  material  consisting 
merely  of  long  cloth  trimmed  with  a  simple  edge  of  embroidery 
through  which  tape  or  ribbon  is  run  to  draw  up  the  fullness  at  the 
top.  It  is  cut  after  a  pattern  which  makes  but  few  gathers  necessary 
in  the  band  at  the  waist  line;  this  is  very  desirable,  as  it  gives  plenty 
of  fullness  at  the  top  without  the  bulging,  clumsy  appearance  at  the 
band.  It  is  desirable  to  attach  a  peplum  to  keep  the  corset  cover 
from  slipping  up  and  leaving  a  gap  at  the  waist  line;  if  preferred  it 
ma>  be  attached  to  a  pair  of  drawers  thus  forming  a  combination  suit 

References: 

Household  Arts,  Bulletin  Missouri   State  Board  of  Agriculture. 

The   Modern   Household,  Talbot   and   Breckenridge.     Manual   Arts   Press. 


222 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


CAMBRIC  CORSET  COVER. 

No.  1.  This  corset  cover  is  made  like  the  one  shown  in  the 
illustration,  except  that  the  fullness  at  the  top  is  gathered  in  and  fin- 
ished with  bias  tape.  The  neck  and  armholes  are  trimmed  with 
tatting.  It  is  a  very  plain  serviceable  garment. 

HANDMADE  CORSET  COVER. 

No.  2.  This  corset  cover  is  decorated  in  rather  a  novel  way.  Half 
inch  square  openings  are  cut  and  the  raw  edges  turned  back  to  form 
the  design  shown.  Net  is  sewed  on  under  the  squares. 

HAND  EMBROIDERED  CORSET  COVER. 

No.  3.  This  corset  cover  is  embroidered  with  the  satin  stitch  and 
eyelets.  The  lace  sleeves  are  made  by  sewing  together  several  rows  of 
insertion;  lace  beading  finishes  the  top  of  the  corset  cover. 

FANCY  CORSET  COVER. 

No.  4.  The  hand  crocheted  yoke  which  finishes  the  top  of  this 
corset  cover  makes  it  very  effective  when  worn  under  a  thin  waist. 
There  is  almost  no  limit  to  the  application  of  fine  handwork  which 
may  be  used  in  this  garment. 


223 

WORKING  DIRECTIONS  FOR  CAMBRIC  CORSET  COVER 

PREPARING  MATERIAL. 
Shrink  the  material. 

CUTTING  OUT  THE  CORSET  COVER. 

A  commercial  pattern  may  be  used  for  this  corset  cover,  or  you 
may  draft  your  own  pattern  according  to  directions  in  Chapter  IV. 
If  a  commercial  pattern  is  used,  study  carefully  the  guide  chart  and 
directions  accompanying  it. 

As  the  two  pieces  forming  the  front  should  be  cut  out  together, 
fold  the  material  lengthwise  to  form  a  double  strip  as  wide  as  the 
front  of  the  pattern.  Lay  the  edge  of  the  center  front  of  the  pattern 
even  with  the  unfolded  edges  of  the  goods,  pin  it  in  place  and  cut  out 
the  fronts.  To  cut  out  the  back  for  which  you  have  a  half  pattern, 
fold  the  remaining  material  lengthwise  to  form  a  double  strip  as  wide 
as  the  back  pattern.  Lay  the  center  back  of  the  pattern  on  the  fold 
of  the  material,  pin  it  in  place  and  cut  it  out.  Cut  out  the  peplum, 
laying  the  center  back  of  the  peplum  on  the  warp  thread  of  the  good's. 
Tear  out,  or  cut  off  a  strip  3"  wide,  the  length  of  the  waist  measure, 
plus  2"  for  under  turnings  and  lapping. 

JOINING  SEAMS. 

This  corset  cover  may  be  joined  with  felled  or  French  seams 
(Chap.  II,  Par.  137-138).  With  this  in  mind,  baste  together  the  under- 
arm and  shoulder  seams  of  the  corset  cover.  Baste  the  peplum  to- 
gether in  the  back,  if  necessary.  Try  on  the  corset  cover;  make  any 
alterations  necessary.  If  it  is  too  low  in  the  neck  or  too  full  in  the 
lower  curve  of  the  armhole  take  up  the  shoulder  seam;  if  it  is  too 
loose  under  the  arms  take  up  the  under-arm  seams.  Pin  a  tape  or  a 
strip  of  cloth  around  the  waist  over  the  bottom  of  the  corset  cover, 
adjust  the  fullness  and  mark  the  waist  line  with  pins  or  trim  off  the 
extra  material  with  the  shears. 

Rebaste  on  the  line  of  fitting;  finish  the  seams.    Remove  bastings. 

PUTTING  ON  THE  BAND. 

Gather  the  corset  cover  across  the  lower  edge  of  the  back  about 
2V2"  inside  of  the  under-arm  seams  (Chap.  II,  Par.  141),  draw  up  the 
gathers  to  make  the  back  9"  or  10"  wide;  about  2V2"  from  the  under- 
arm seam  gather  across  the  lower  edge  of  the  front  pieces  and  draw 
up  the  gathering  thread  until  the  bottom  of  the  corset  cover  is  the 
same  size  as  the  waist  measure,  plus  1"  extra  for  lapping  at  the  front. 


224 

TO  SEW  ON  THE  BAND. 

Lay  it  on  the  under  side  of  the  corset  cover  with  the  center  even 
with  the  center  back,  and  the  edge  even  with  the  gathered  edge  of  the 
corset  cover.  Pin  and  baste  in  place  (be  careful  to  turn  in  the  ends  of 
the  band  1/2"  making  them  exactly  even  with  the  front  edges  of  the 
corset  cover).  Adjust  the  gathers,  pin  and  baste  the  band  to  the  corset 
cover.  Stitch  along  the  line  of  basting;  remove  bastings  and  gather- 
ing threads.  Turn  in  the  raw  edge  on  the  other  side  of  the  band 
and  fold  it  over  to  cover  the  stitching;  pin  and  baste  in  place.  Remove 
pins.  Cut  open  the  lower  edge  of  the  band  to  receive  the  peplum. 
Turn  in  the  raw  edges  and  crease  them. 

THE  PEPLUM. 

Finish  the  lower  and  front  edges  of  the  peplum  with  a  narrow 
hem.  With  the  center  backs  of  the  peplum  and  the  band  together 
place  the  wrong  side  of  the  peplum  on  the  under  side  of  the  band, 
with  the  edges  even;  pin  and  baste  in  place;  remove  the  pins  and 
stitch.  Turning  in  the  edge  of  this  seam  fold  over  the  edge  of  the 
upper  part  of  the  band  enough  to  cover  the  stitching;  pin,  baste  and 
stitch  in  place.  (Both  sides  of  the  band  should  be  perfectly  smooth.) 

FINISHING  NECK  AND  ARMHOLES. 

The  embroidery  beading  should  be  sewed  around  the  neck  and 
armholes  with  a  lapped  seam  (Chap.  II,  Par.  139).  To  keep  the  seams 
smooth,  make  tiny  crosswise  cuts  in  the  underturned  edges  around 
the  curves.  Finish  the  ends  of  the  embroidery  on  the  neck  with 
narrow7  hems;  join  the  ends  in  the  armholes  with  felled  seams  (Chap. 
II,  Par.  138).  Run  ribbon  through  the  beading. 

FASTENINGS. 

Fasten  the  corset  cover  together  with  snaps  on  the  front  hems 
and  a  hook  and  eye  on  the  band  (Chap.  II,  Par.  133)  or  with  buttons 
and  buttonholes  on  the  hems  and  also  the  band  (Chap.  II,  Par.  135-136). 


225 


DRAWERS 

MATERIALS. 

Cambric   (Chap.  I,  Par.  6), 
or 

Long  Cloth   (Chap.  I,  Par. 
24),  or 

Nainsook  (Chap.  I,  Par.  28). 

1%  to  2  yards  of  material. 
Embroidery  (1*4  times 

width  of  the  two  legs). 
Thread  70-90,  depending  on 

fineness  of  material  used. 


INTRODUCTORY  STATEMENT. 

There  are  some  things  in  a  girl's  wardrobe  that  are  counted  as 
luxuries  and  there  are  others  which  are  absolute  necessities.  This 
garment  is  one  of  the  necessities.  Whether  they  are  joined  -  to  a 
corset  cover  in  a  combination  suit,  or  made  in  one  piece  as  a  sort  of 
princess  slip,  makes  no  particular  difference  except  in  the  amount  of 
gathers  at  the  waist  line,  but  they  are  usually  made  to  conform  to  the 
prevailing  style  in  their  shape  at  the  bottom. 

In  the  days  of  full  skirts  the  wide,  circular  ones  are  very  popular, 
while  in  the  days  of  tight  skirts  they  are  narrowed  down  and  even 
fastened  into  a  band  of  some  sort  at  the  knees  to  make  them  fit  closely. 
The  material  used,  as  in  other  garments,  will  depend  on  whether  they 
are  to  be  worn  daily  or  occasionally.  For  service,  long  cloth  or 
cambric  is  generally  used;  the  softer  nainsook  or  linen  may  be  used 
for  the  finer  ones. 

The  garment  in  this  lesson  is  made  along  standard  lines.  Some 
of  the  details  will  have  to  be  decided  upon  by  the  wearer,  as  each 
girl  will  probably  have  ideas  of  her  own  which  can  be  easily  intro- 
duced. Embroidery  trimming  may  be  used  (to  match  the  embroidery 
on  the  under  skirt)  for  the  bottom  of  the  legs,  or  they  may  be  finished 
with  a  ruffle  made  of  the  goods,  of  lawn,  or  of  barred  muslin  tucked 
and  trimmed  with  lace  and  insertion;  lace  is  often  sewed  on  the  bot- 
tom for  trimming. 


References: 

The  Complete  Dressmaker,  C.  E.  Laughlin. 
Hints   on   Dress,  E.  C.   Gale. 


226 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


LACE  TRIMMED  DRAWERS. 

No.  1.  These  drawers  are  made  open.  Notice  the  fitted  facing 
which  finishes  the  inside  of  the  legs.  The  lace  is  sewed  on  the  edge 
of  a  narrow  machine  made  hem. 

CHILD'S  DRAWERS. 

No.  2.  These  drawers  are  made  bloomer  style;  the  fullness  at 
the  bottom  of  the  leg  is  gathered  into  a  band  of  embroidery  beading, 
which  is  sewed  on  with  bias  tape.  The  openings  on  the  sides  are 
finished  with  bound  plackets. 

READY-MADE  DRAWERS. 

No.  3.  These  drawers  which  are  ready-made,  have  gathers  across 
the  back  to  make  them  fit  at  the  waist  line.  The  openings  on  the  inside 
of  the  legs  are  finished  with  bias  tape.  The  embroidery  trimming  on 
the  bottom  of  the  drawers  is  set  on  with  embroidery  insertion. 

DRAWERS. 

No.  4.  These  drawers  are  made  of  fine  material  (nainsook) ;  they 
are  finished  on  the  bottom  with  dainty  lace  set  on  the  bottom  of  the 
legs  with  insertion  provided  with  eyelets  through  which  narrow 
ribbon  is  run. 


227 

WORKING  DIRECTIONS  FOR  DRAWERS 

PREPARING  MATERIAL. 
Shrink  the  material. 

CUTTING  OUT  THE  DRAWERS. 

You  may  use  a  commercial  pattern  for  these  drawers,  or  draft  a 
pattern  according  to  the  directions  in  Chap.  IV.  If  a  commercial 
pattern  is  used,  study  carefully  the  guide  chart  and  directions  accom- 
panying it.  If  you  use  a  drafted  pattern  for  plain  drawers,  lay  the 
side  edge  of  the  pattern  parallel  with  the  warp  threads  of  the  material 
which  may  be  doubled  crosswise  so  that  both  legs  may  be  cut  at  the 
same  time.  Pin  the  pattern  in  place  and  cut  out  the  drawers. 

JOINING  SEAMS. 

Each  leg  should  be  joined  with  a  felled  seam  (Chap.  II,  Par.  138). 
If  the  drawers  are  to  be  made  closed,  join  the  two  legs  with  a  felled 
seam  extending  from  the  top  of  the  back  to  within  10"  of  the  top  of 
the  front.  Finish  the  opening  at  the  front  with  an  extension  placket 
(Chap.  II,  Par.  162).  NOTE:  Children's  drawers  are  usually  gath- 
ered onto  a  band  in  front  and  to  another  band  in  the  back,  with  an 
opening  4"  to  6"  long  on  one  or  two  sides.  These  openings  are  fin- 
ished with  a  bound  placket,  or  bias  tape. 

If  the  drawers  are  made  open,  the  edges  on  each  leg  should  be 
finished  with  a  fitted  facing  about  1"  wide.  This  facing  is  usually 
joined  opposite  the  seam  in  the  leg,  the  raw  edges  of  the  seam  being 
turned  inside.  If  the  drawers  are  to  be  opened  in  the  back,  they 
should  be  lapped  in  front  the  width  of  the  facing.  If  the  drawers 
are  to  be  opened  in  front,  they  should  be  lapped  the  width  of  the 
facing  in  the  back.  After  they  are  lapped,  stitch  them  together  about 
6"  from  the  top  in  the  back,  or  about  4"  in  the  front. 

FINISHING  THE  TOP. 

The  top  of  the  drawers  may  be  inserted  in  the  lower  edge  of  the 
band  of  the  corset  cover  and  made  to  form  a  combination  suit;  or, 
they  may  be  finished  with  a  straight  band.  The  drawers  in  the  illus- 
tration are  finished  with  a  bias  facing.  Cut  a  bias  strip  1"  wide  and 
long  enough  to  reach  around  the  waist,  sew  it  on  the  top  edge  of  the 
drawers;  turn  the  seam  to  the  wrong  side,  fold  it  over  to  the  wrong 
side;  baste  along  the  stitched  edge,  turn  in  the  opposite  raw  edge 
and  the  ends,  baste  and  stitch  in  place,  or  hem  by  hand. 


228 

FINISHING  THE  BOTTOM. 

The  bottoms  of  the  drawers  in  this  lesson  are  finished  with  an 
embroidery  ruffle.  You  will  notice  that  this  ruffle  is  gathered  and  the 
embroidery  is  left  open  at  the  sides  of  the  legs.  To  put  on  the  ruffle, 
cut  the  embroidery  in  two  equal  pieces.  On  each  end,  miter  the 
embroidery  the  same  as  you  would  lace,  except  that  it  should  be 
joined  with  a  felled  seam  (Chap.  II,  Par.  147). 

TO  SEW  ON  THE  LACE. 

Divide  each  drawer  leg  in  halves  and  mark  it  with  a  pin;  divide 
each  piece  of  embroidery  in  halves  and  mark  with  a  pin.  Gather 
each  half  and  adjust  it  to  the  half  of  each  leg.  As  the  embroidery  is 
to  be  sewed  on  with  a  felled  seam,  place  the  wrong  side  of  the  em- 
broidery on  the  wrong  side  of  the  drawer  leg,  allowing  the  edge  of 
the  drawer  leg  to  extend  about  y±"  beyond  the  edge  of  the  gathered 
embroidery.  Baste  and  stitch  the  embroidery  in  place,  making  the 
mitered  ends  meet  on  the  side  of  the  drawer  leg.  (Be  sure  to  stitch 
through  the  gathering  threads.)  Finish  sewing  on  the  embroidery 
with  a  felled  seam  (Chap.  IT,  Par.  138). 

FASTENINGS. 

If  the  drawers  are  closed,  place  three  buttons  and  buttonholes 
on  the  placket  and  one  on  the  end  of  the  facing.  If  the  drawers  are 
made  open  (open  in  the  back)  sew  one  hook  and  eye  on  the  end  of 
the  bias  facing  at  the  back,  or  use  a  button  and  buttonhole  if  you 
prefer.  If  they  are  made  open  and  are  to  be  fastened  in  front,  sew 
one  hook  and  eye  on  the  ends  of  the  facing  and  about  three  snaps 
down  the  edge  of  the  opening. 


229 


PAJAMAS 


MATERIALS. 

Outing  Flannel  (Chap.  I,  Par.  30). 
Nainsook  (barred)   (Chap.  I,  Par.  28). 


Amount  of  material  called  for 
in  pattern. 


4  buttons. 

ll/2  yards  cotton  tape. 


INTRODUCTORY  STATEMENT. 

Pajamas  are  usually  thought  of  as  distinctly  a  sleeping  garment 
for  men  and  boys,  but  they  are  growing  in  popularity  particularly 
for  children  and  even  women;  they  are  especially  suitable  for  winter. 
They  fit  closer  to  the  body  and  for  that  reason  are  much  warmer  than 
the  night  gown.  When  made  of  outing  flannel  in  the  dainty  shades 
of  pink,  blue  and  lavender,  with  white  trimmings  they  are  really  very 
attractive;  when  made  with  feet  they  are  exceedingly  warm  and 
comfortable. 

Pajamas  are  used  a  great  deal  by  people  who  sleep  out  of  doors; 
when  so  used  they  are  often  made  with  an  attached  hood  which  keeps 
the  cold  air  from  the  neck. 

This  garment  is  usually  made  in  two  pieces,  with  the  coat  sep- 
arate, but  some  are  made  with  the  trousers  attached.  The  garment 
in  this  lesson  is  made  in  two  pieces  and  although  outing  flannel  is 
designated  as  the  material,  if  a  summer  garment  is  desired,  seco  silk 
or  cotton  poplin  in  dainty  colors  may  be  used  instead.  A  very  at- 
tractive garment  can  be  made  of  delicate  color  of  crepe  de  Chine,  but 
this  is  more  expensive. 


References : 

Needlework  and  Cutting  Out,  Rosevear. 
Book   of  Needlework,   S.  O.   Beeton. 


Macmillan   Co. 


230 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


CHILD'S  PAJAMAS. 

No.  1.  These  pajamas  should  be  made  from  a  commercial  pat- 
tern. They  are  made  just  like  the  pajamas  in  the  second  illustration, 
except  that  the  feet  have  been  omitted.  They  are  suitable  for  a  child 
from  2  years  to  8  or  10  years  of  age.  The  extra  fullness  across  the 
back  is  gathered  into  a  band  which  is  buttoned  to  the  upper  part  of 
the  garment,  as  shown  in  the  second  illustration. 

\ 
CHILD'S  PAJAMAS. 

No.  2.  These  pajamas  are  made  of  outing  flannel  for  winter 
wear.  The  feet  which  are  made  as  a  part  of  the  legs,  keep  the  gar- 
ment from  slipping  up.  A  pattern  should  be  used  in  making  this 
garment.  To  make  the  feet,  sew  a  seam  across  the  bottom  of  the 
heel,  then  insert  the  gusset  which  is  to  form  the  sole  of  the  foot. 
Finish  the  raw  edges  of  the  seam  with  overcasting. 


231 
WORKING  DIRECTIONS  FOR  PAJAMAS 

PREPARING  MATERIAL. 

Shrink  the  material.  You  are  to  use  a  commercial  pattern  in 
making  this  garment.  Study  carefully  the  guide  chart  and  directions 
accompanying  the  pattern  and  cut  out  the  garment. 

MAKING  THE  COAT. 

As  you  will  notice  in  the  illustration  in  this  lesson,  the  pajamas 
consist  of  a  loose  fitting  coat  and  a  pair  of  drawers.  Join  the  shoulder 
and  under-arm  seams  of  the  coat  with  felled  seams  (Chap.  II,  Par. 
138),  finished  on  the  right  side.  Join  the  seams  of  the  sleeves  in  the 
same  manner  and  set  them  into  the  armholes  of  the  jacket  with 
lapped  seams  (Chap.  II,  Par.  139).  Finish  both  edges  of  the  front 
opening  with  a  facing  3"  wide.  Using  a  flat,  mercerized  braid  make 
four  "frogs"  on  the  left  side  and  place  them  at  equal  intervals  along 
the  edge  of  the  garment.  (A  "frog"  is  a  design  made  of  braid 
to  ornament  the  buttonhole.  It  is  sometimes  made  with  a  loop  ex- 
tending over  the  edge  of  the  garment  to  serve  as  a  substitute  for  a 
buttonhole.)  To  make  each  frog,  place  one  end  of  the  braid  about  l1/^" 
from  the  edge  of  the  opening  (on  the  left  side);  bring  it  around  to 
the  front  edge  in  a  loop  large  enough  to  enclose  a  buttonhole.  Make 
additional  loops  of  braid  around  the  end  to  resemble  a  clover  leaf. 
Turn  in  the  ends  and  fasten  the  braid  in  place  with  small  running 
stitches.  Sew  the  buttons  (on  the  right  side)  to  correspond  with  the 
buttonholes. 

Finish  the  neck  with  a  fitted  facing  about  Vo"  wide.  Finish  the 
bottom  of  the  sleeves  and  the  bottom  of  the  jacket  with  a  l/2f'  hem. 
Place  the  pocket  on  the  left-hand  side  of  the  jacket.  NOTE:  It 
these  pajamas  are  made  for  a  girl  or  woman  place  the  frogs  and 
buttonholes  on  the  right-hand  side  and  the  buttons  on  the  left-hand 
side. 

MAKING  THE  DRAWERS. 

It  will  probably  be  necessary  to  piece  the  drawers  at  the  crotch. 
This  will  depend  on  the  width  of  the  material.  If  this  is  necessary, 
pin  extra  material  to  the  selvages  in  the  place  desired,  when  cutting 
out  the  garment,  and  stitch  the  pieces  on  with  the  same  kind  of  seams 
used  on  the  other  parts  of  the  garment.  Join  each  leg  with  felled 
seams  finished  on  the  right  side.  Join  the  two  legs  in  the  same 
manner  leaving  an  opening  in  the  front  about  11"  long  for  the  placket. 
Finish  this  opening  with  an  extension  placket  <Chap.  II,  Par.  162). 


232 

If  you  desire  to  fasten  this  opening  together  with  buttons  and  button- 
holes, make  the  facing  on  the  extension  placket  twice  as  wide  as  you 
otherwise  would,  and  fold  half  of  it  back  to  the  edge  to  form  a  tlap 
in  which  to  \vork  the  buttonholes.  If  buttonholes  are  used,  sew  on 
buttons  to  correspond  with  them  on  the  extension  piece  of  the 
placket.  Snaps  may  be  used  satisfactorily  for  this  purpose,  excepting 
for  the  top  fastening,  which  should  be  a  hook  and  eye.  If  snaps  ar« 
used  make  the  extension  placket  without  the  extra  flap. 

If  the  top  of  'the  drawers  are  fitted,  finish  with  a  1"  facing.  If 
it  is  not  fitted,  it  may  be  finished  with  an  inch  hem,  through  which 
a  cotton  tape  is  run.  Where  the  tape  is  used,  make  buttonholes  in 
the  outside  'of  the  hem,  even  with  the  inside  edge  of  the  extension 
piece  of  the  placket  and  bring  one  end  of  the  tape  out  through  this 
(if  the  tape  is  brought  out  through  the  end  of  the  hem,  it  will  make 
the  pajamas  close  awkwardly  in  the  front).  Finish  the  bottom  of 
the  drawers  with  Vfew' 


233 


BOY'S  SHIRT 

MATERIALS. 

Madras  (Chap.  I,  Par.  25),  or 
Percale  (Chap.  I,  Par.  31). 

Amount    of   material    called 
for  in  pattern. 

Commercial  pattern. 
9  pearl  buttons. 
Thread  No.  70. 


INTRODUCTORY  STATEMENT. 

While  many  styles  of  garments  come  and  go,  particularly  in 
women's  wear,  yet  the  shirt  remains  as  a  standard  piece  of  apparel 
for  men  and  boys.  The  style  of  collar  and  cuffs  may  vary  from  time 
to  time,  but  the  general  principles  of  the  garment  are  so  nearly  un- 
changed that  a  standard  pattern  can  be  adapted  easily  to  the  kind  of 
shirt  desired. 

Percale  is  the  most  common  material  for  shirts,  it  stands  wear, 
holds  its  color  well,  and  launders  beautifully. 

The  shirt  shown  in  this  lesson  is  designed  for  a  boy,  it  is  there- 
fore set  on  a  band  at  the  waist  line;  the  collar  is  attached  to  the  shirt. 
Either  of  these  features  can  be  easily  altered  if  desired. 

In  undertaking  to  make  a  shirt  a  commercial  pattern  should 
be  used. 


References : 

Handicraft  Bulletin,  Ex.  Division   Kansas  State  Agricultural  College. 
Household   Sewing,   Bertha   Banner. 


234 
SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


MAN'S  SHIRT. 

No.  1.  This  shirt  is  made  very  similar  to  the  one  shown  in  this 
lesson;  its  particular  features  are  the  soft  cuffs  and  collar.  Instead 
of  being  finished  with  a  band  at  the  bottom,  it  is  allowed  to  extend 
below7  the  waist  line  several  inches  and  is  curved  off  toward  the  under- 
arm seam.  It  should  be  made  from  a  commercial  pattern.  The  guide 
chart  and  directions  which  accompany  such  a  pattern  should  be 
studied  carefully. 

MAN'S  SHIRT. 

No.  2.  This  shirt  is  made  like  No.  1,  except  that  it  is  finished 
with  a  collar  band  at  the  top  instead  of  a  collar.  The  open  cuffs  show 
the  placket  opening  which  is  necessary  in  all  shirts  of  this  character. 
This  opening  is  finished  with  a  bound  placket.  Usually  a  strip  with 
a  pointed  end  is  sewed  along  the  upper  edge  of  this  placket  for  trim- 
ming. A  commercial  pattern  should  be  used  in  making  this  shirt. 


235 

WORKING  DIRECTIONS  FOR  BOY'S  SHIRT 

PREPARING  MATERIAL. 
Shrink  the  material. 

CUTTING  OUT  THE  SHIRT. 

You  are  to  use  a  commercial  pattern  to  make  this  shirt.  In  select- 
ing the  pattern  choose  one  in  which  the  lower  part  of  the  waist  is 
fitted  into  a  band.  The  tape  sometimes  used  to  gather  the  fullness 
in  at  the  waist  line  does  not  make  as  neat  a  finish  as  the  band. 
Carefully  study  the  guide  chart  and  the  directions  accompanying 
your  pattern.  Cut  out  the  shirt  accordingly. 

JOINING  THE  SEAMS. 

Finish  the  seams  under  the  arms  and  on  the  sleeves  with  felled 
or  lapped  seams  (Chap.  II,  Par.  138-139).  The  shoulders  may  be 
finished  in  the  same  way,  but  they  will  look  very  neat  finished  with  a 
lengthwise  strip  1"  wide.  To  put  on  the  strip,  baste  the  seams  as 
usual  and  place  a  lengthwise  strip  %"  wide  over  the  seam  on  the 
right  side,  letting  the  center  of  the  strip  lie  on  the  basted  seam.  Turn 
in  the  raw  edges,  baste  in  place.  Trim  off  the  extra  material  under  the 
strip;  baste  a  strip  the  same  width  exactly  opposite  this  on  the  wrong 
side.  Stitch  the  strip  on  the  right  side  along  the  edges,  sewing  in  the 
strip  on  the  wrong  side  at  the  same  time.  . 

To  finish  the  front  edge  of  the  shirt,  hem,  or  face  the  right-hand 
edge  with  a  hem,  or  facing,  %"  wide.  Finish  the  left-hand  edge  by 
turning  the  raw  edges  toward  the  right  side  and  stitching  a  1W  strip 
over  it;  place  the  stitching  about  *4"  from  each  edge.  Place  four 
buttonholes  cut  lengthwise  of  the  material  in  the  center  of  this  strip. 
Place  buttons  on  the  right  side  to  correspond  with  the  buttonholes. 

THE  COLLAR. 

The  standing  collar  on  a  boy's  shirt  is  made  of  two  parts;  one 
part  forms  a  band  which  fits  around  the  neck  and  is  made  lengthwise 
of  the  material;  the  other  part  which  turns  back  over  the  bands  to- 
ward the  right  side  is  frequently  cut  crosswise  of  the  goods,  especially 
if  the  material  is  striped.  The  collar  should  be  made  with  a  double 
interlining  of  the  goods  itself,  or  some  heavy  white  material  like 
Indian  head.  If  your  pattern  calls  for  a  two-piece  collar,  make  the 
turn-over  part  complete,  .stitching  it  around  the  edge  on  the  outside; 
then  placing  the  centers  of  each  part  together,  lay  the  raw  edge  ol 


236 

the  turn-over  part  between  the  raw  edges  of  the  top  part  of  the  band 
and  stitch  them  together,  continuing  the  stitching  around  the  ends  of 
the  band. 

To  sew  on  the  collar,  stitch  the  under  side  of  the  band  and  the 
interlining  to  the  neck  of  the  shirt  turning  the  seam  out  toward  the 
right  side.  Turn  in  the  raw  edge  of  the  outside  of  the  band  to  cover 
this  stitching,  baste  and  stitch  in  place  (it  is  advisable  to  pin  the  collar 
on  the  neck  of  the  shirt  and  baste  from  the  center  back  towrard  the 
front.)  Fasten  the  band  together  at  the  ends  with  a  button  and  but- 
tonhole, placing  the  buttonhole  on  the  left  side.  Near  the  bottom  of 
the  front  ends  of  the  turn-over  part,  wrork  twro  buttonholes  opposite 
each  other,  crosswise  of  the  material  (to  hold  the  collar  link). 

THE  SLEEVES. 

Join  the  sleeves  with  felled  seams.  Finish  the  opening  with  a 
bound  placket  (Chap.  II,  Par.  161);  place  a  fe\v  gathers  in  the  back 
of  the  sleeve  (on  the  under  side).  The  cuffs  should  be  interlined  the 
same  as  the  collar  and  may  be  sewred  to  the  sleeves  in  the  same  wray  that 
you  sewed  the  collar  band  to  the  neck  of  the  shirt;  if  the  cuffs  are  to 
lap,  sew  them  around  to  the  edge  of  the  extension  side  of  the  placket. 

If  the  cuffs  are  to  be  held  together  wath  cuff  links,  turn  under  the 
extension  of  the  placket  and  sewr  it  into  the  cuff  with  the  bottom  of 
the  sleeve. 

If  a  lapped  cuff  is  used,  place  a  buttonhole  in  the  upper  side, 
with  a  button  to  correspond,  on  the  lower  side.  If  cuffs  are  to  be 
held  together  with  cuff  links,  work  a  buttonhole  in  each  end  of  the 
center  of  the  cuff,  making  the  buttonholes  exactly  opposite  each  other. 

NOTE:  It  may  be  necessary  to  trim  off  some  of  the  material  at 
the  curves  of  the  armholes  to  make  the  sleeves  fit  and  hang  properly. 
Sew  the  sleeves  into  the  shirt  with  lapped  seams.  Make  tiny  cross- 
wise cuts  in  the  under  turnings  around  the  curves  to  make  the  seam 
lie  smoothly. 

FINISHING  THE  BOTTOM  OF  THE  SHIRT. 

Finish  the  bottom  of  the  shirt  with  a  facing  cut  lengthwise  of  the 
material  1"  wide  (turn  the  facing  toward  the  right  side  of  the  shirt  to 
give  it  the  appearance  of  a  band).  Work  a  buttonhole  in  one  end; 
sew  a  button  on  the  other  end  to  correspond. 


237 

EMBROIDERED  LUNCHEON  SET 

MATERIALS. 
Linen  (Chap.  I,  Par.  40). 

1%  yards  plain  woven  linen, 
36"  wide. 

Embroidery     cotton     (delf 
blue,  brown,  pink,  green). 

Embroidery  needle. 
Thread  No.  80. 


IN  1 RODUCTORY  STATEMENT. 

Most  housekeepers  take  great  pride  in  having  on  hand  a  bountiful 
supply  of  attractive  table  linen.  Many  girls  enjoy  making  a  collection 
of  pretty  embroidered  towels,  table  linen,  doiles,  etc. 

Luncheon  sets  are  particularly  attractive  on  a  polished  table  and 
many  prefer  to  use  them  in  place  of  the  large  table  cloths;  they  are 
also  much  more  easily  laundered. 

The  luncheon  set  shown  in  the  lesson  would  make  a  very  attrac- 
tive addition  to  any  home  supply  of  linen  or  to  a  girl's  "Hope  Box." 
Such  a  combination  of  attractive  work  in  a  serviceable  article  is  par- 
ticularly suitable  for  a  Christmas  gift. 

In  undertaking  a  complete  set  of  this  kind  it  would  be  well  to 
finish  one  or  two  pieces  in  the  class  and  make  the  remaining  pieces  at 
home.  The  optional  modifications  offer  suggestions  for  embroidery 
designs  that,  no  doubt,  will  appeal  to  different  members  of  the  class. 


References : 

Students'   Textbook   on   Color,   O.  N.   Rood. 
Principles    of    Science   of   Color,   Wm.    Benson. 


238 


SUGGESTIONS  FOR  OPTIONAL  MODIFICATION. 


SCALLOPED  LUNCHEON  SET. 

No.  1.  This  set  consists  of  a  round  center  piece  with  six  plate 
doilies  and  six  tumbler  doilies.  It  is  made  of  ecru  colored  linen. 

HEMSTITCHED  LUNCHEON  SET. 

No.  2.  This  set  consists  of  one  luncheon  cloth  and  six  napkins. 
The  edges  are  finished  with  hemstitched  hems.  It  is  made  of  damask 
linen. 

CROCHETED  LUNCHEON  SET. 

No.  3.  This  luncheon  set  consists  of  a  square  center  piece  and 
three  sets  of  square  doilies.  The  edges  are  finished  with  crocheting 

CRETONNE  LUNCHEON  SET. 

No.  4.  This  set  consists  of  two  runners  which  cross  in  the  center, 
two  oblong  pieces,  and  two  sets  of  doilies.  These  cretonne  sets  may 
be  purchased  in  an  art  needlework  department  and  the  edges  finished 
to  suit  the  taste.  The  edges  of  these  doilies  are  finished  with  cro- 
cheted lace. 


239 

WORKING  DIRECTIONS  FOR  LUNCHEON  SET 

PREPARING  MATERIAL. 

Straighten  one  edge  of  the  material ;  measure  down  on  the  selvage 
36"  to  form  a  square  for  the  lunch  cloth.  Draw  a  thread  crosswise, 
cut  on  the  line  (the  remaining  material  is  to  be  cut  into  six  12" 
squares,  which  are  to  be  used  for  the  napkins).  For  the  straight  edge 
measure  down  on  the  remaining  piece  12";  draw  a  thread  crosswise; 
from  the  line  formed,  measure  down  12"  on  the  selvage;  draw  an- 
other thread  crosswise.  Measure  out  on  the  straightened  edge  12"; 
draw  a  thread  lengthwise;  from  the  line  formed,  measure  out  again 
on  the  straightened  edge  12",  draw  another  thread  crosswise;  cut  on 
the  lines  formed. 

FINISHING  THE  EDGES. 

Make  a  hem  %"  wide  around  the  edges  of  the  lunch  cloth  and  the 
napkins.  On  the  selvage  edges,  before  turning  them  under,  make 
tiny  crosswise  cuts  about  3"  apart  to  keep  them  from  puckering  when 
laundered.  You  will  observe  in  the  illustration  that  the  hems  are  dec- 
orated with  cross-stitching.  (Delf  blue  embroidery  floss  was  used 
very  effectively  for  the  work  in  this  luncheon  set).  Any  mercerized 
embroidery  floss  may  be  used,  but  it  should  be  rather  coarse.  No 
attempt  is  made  to  give  the  size  of  embroidery  cotton  to  use,  as  there 
are  several  different  brands  on  the  market  and  the  numbers  of  the 
sizes  in  the  different  brands  vary  considerably. 

To  make  the  cross-stitched  border  on  the  luncheon  set,  overcast 
the  edges  over  the  hem  working  from  left  to  right  on  the  right  side  of 
the  material;  make  the  stitches  1/4"  apart.  Return  and  overcast  the 
hems  again,  placing  the  stitches  half  way  between  the  stitches  made 
the  first  time.  The  threads  should  cross  in  the  middle  of  the  hems 
in  the  front  and  back. 

THE   DESIGN. 

The  design  used  in  the  luncheon  set  in  the  illustration  may  be 
purchased  in  almost  any  pattern  department.  This  design  is  worked 
in  cross-stitch.  NOTE:  It  is  difficult  to  make  an  original  cross- 
stitch  design  because  it  is  not  only  necessary  to  draw  the  outline,  but 
it  is  also  necessary  to  draw  each  stitch  in  its  proper  position.  Any 
other  design  may  be  used  to  suit  the  taste,  although  you  will  iind 
that  this  design  carefully  worked  out  makes  a  very  attractive  lunch- 
eon set. 


240 

Transfer  each  design  to  the  corner  of  the  luncheon  cloth  and 
napkins  by  placing  it  rough  side  down  and  pressing  it  with  a  hot  iron. 
Remove  the  patterns  and  work  the  designs. 

The  basket  should  be  worked  with  brown  embroidery  cotton; 
the  flowers  in  the  basket  should  be  worked  with  dark  green,  light 
green,  pink  and  blue,  the  colors  being  combined  to  suit  the  taste.  (Do 
not  use  knots  in  beginning  the  stitches,  as  you  are  working  on  an 
article  which  will  not  be  covered  with  other  material  on  the  wrong 
side.)  Small  backstitches  or  running  stitches  may  be  used  in  starting 
a  new  thread. 

This  lunch  cloth  consists  of  the  center  piece  and  napkins  only, 
but  if  desired,  different  sized  sets  of  doilies  may  be  made  instead  of 
the  napkins.  They  can  be  made  circular  in  shape  as  well  as  square, 
although  it  would  be  more  difficult  to  make  the  hems  even. 


241 

REVIEW   QUESTIONS   AND   PROBLEMS. 

1.  What  are  the  essential  points  in  designing  a  combing  jacket? 

2.  Design  a  combing  jacket  and  explain  how  it  should  be  made; 
be   sure   to   discuss   each   process   and   state  the   different  kinds   of 
stitches  used. 

3.  Why  is  a  night  gown  considered  rather  an  easy  garment  to 
make? 

4.  What  sort  of  material  would  you  select  for  a  kimono?    Why? 

5.  Why  is  silk  such  an  expensive  material?    What  materials  are 
sometimes  used  as  a  substitute  for  silk? 

6.  What  kind  of  material  is  suitable  for  undergarments? 

7.  What  is  a  ruffle?    Name  some  garments  on  which  the  ruffle 
is  frequently  used.    Explain. 

8.  Of  what  material   should  pajamas   be  made   for  very  cold 
weather? 

9.  Design  and  explain  how  you  would  make  pajamas  for  some- 
one who  expected  to  sleep  out  of  doors  in  cold  weather. 

10.  What  is  a  placket?     Name  four  or  five  garments  requiring 
plackets  and  explain  how  the  placket  should  be  made  in  each. 

11.  Of  what  material  should  a  boy's  shirt  be  made? 

12.  Why  is   linen   particularly   desirable   for  table   cloths   and 
napkins? 

13.  Design  an  embroidery  luncheon  set.     Calculate  the  cost  of 
all  the  materials,  estimate  the  time  that  it  will  require  to  complete 
it.     Counting  your  time  worth  20c  per  hour,  what  would  be  the 
worth  of  the  complete  set? 

14.  How  w.ould  you  undertake  to  remove  an  unknown  stain 
from  a  white  linen  towel? 

15.  How  would  you  prepare  a  good  general  purpose  cleaning 
fluid? 

16.  What  precautions  are  particularly  necessary  in  doing  any 
kind  of  garment  cleaning? 

17.  What  cleaning  and  pressing  of  garments  have  you  tried  at 
home? 


242 
SUGGESTIONS  FOR  HOME  APPLICATION. 

After  you  have  completed  the  work  of  this  section  you  should  be 
able  to  do  a  great  deal  of  your  own  sewing.  Howrever,  you  will  likely 
meet  many  problems  which,  on  account  of  lack  of  space,  were  not 
dealt  with  in  this  text.  The  following  suggestions  may  assist  you 
in  some  of  your  home  problems. 

1.  The  ruffle  for  a  petticoat  may  be  gathered  very  satisfactorily 
on  the  sewring  machine,  using  the  special  attachment  which  accom- 
panies the  machine. 

The  greatest  difficulty  found  in  using  a  machine  gatherer  is  in 
adjusting  it  to  the  proper  fullness,  so  that  the  ruffle  may  fit  the  part 
of  the  garment  where  it  is  to  be  placed  without  re-adjusting  the 
gathers.  When  you  are  gathering  a  ruffle  on  the  machine  try  the 
following  method  of  adjusting  the  ruffle  to  the  goods:  Divide  the 
garment  wrhere  the  ruffle  is  to  be  placed,  in  halves  or  fourths;  divide 
the  ruffle  in  a  corresponding  manner.  Measure  one  division  of  both 
the  skirt  and  the  ruffle;  find  the  proportion  existing  between  Ihem. 
For  instance,  if  the  space  on  the  garment  is  18"  and  the  length  of  the 
space  on  the  ruffle  is  24",  the  proportion  will  be  18"  to  24"  or  the 
gathered  ruffle  is  to  be  18/24,  or  %  the  length  of  the  ungathered 
ruffle;  take  a  piece  of  cloth  and  adjust  the  gatherer  until  it  will  gather 
this  piece  to  %  of  its  length;  that  is,  if  the  piece  is  8"  long,  adjust  the 
attachment  to  gather  it  to  6".  When  the  attachment  is  properly  ad- 
justed, gather  the  ruffle. 

2.  Tucks  make  very  attractive  trimming  for  drawers;  they  may 
be  made  quite  easily  on  the  sewing  machine  with  a  little  practice  by 
using  the  tucker  attachment.     This  adjusts  the  width  of  the  tucks 
and  the  spaces  between  them.     Do  not  attempt  to  make  tucks  on  a 
garment  until  you  have  practiced  making  them  on  another  piece  of 
cloth.    Be  careful  to  study  the  instructions  given  in  the  book  of  direc- 
tions which  accompanies  your  machine. 

If  the  tucks  are  made  before  the  seams  are  joined,  you  must  be 
very  careful  to  make  them  even  in  width  and  spacing  (particularly  at 
the  ends  where  they  are  to  be  joined).  If  the  tucks  are  made  after 
the  seams  are  joined,  they  will  be  continuous  and  for  that  reason 
will  make  a  better  appearance.  It  is  a  little  difficult  to  tuck  over  the 
seam  however,  and  where  this  is  to  be  done,  the  seams  must  be  very 
small  and  flat. 

Very  narrow  tucks  may  be  made  successfully  without  using  the 
tucker,  in  the  following  manner:  Fold  and  stitch  the  first  tuck  in  the 


243 

desired  position.  With  a  tape  line  or  cardboard  gauge,  measure  from 
the  fold  of  this  tuck  to  the  place  where  the  fold  of  the  next  tuck  is  to 
come.  Crease  on  a  thread  and  stitch  the  second  tuck  in  place.  Con- 
tinue in  this  way  until  all  the  tucks  are  laid. 

3.  Embroidery  used  for  a  ruffle  on  a  petticoat  usually  wears 
around  the  bottom  while  the  upper  part  is  still  in  good  condition.    If 
you  have  any  petticoats  which  have  become  worn  in  this  way,  try 
this  method  of  repairing  them:     Trim  off  the  worn  portion  of -the 
embroidery  and  the  drop  ruffle.     Hem  them  with  narro\\   hems  and 
sewr  lace  around  the  bottom  oi'  the  embroidery  wide  enough  to  reach 
the  bottom  of  the  under  part  of  the  skirt.     Sew  lace  on.  the  ^r op 
ruffle  also,  if  it  is  needed  to  make  the  skirt  a  little  longer. 

4.  If  you  have  a  plain  narrow  petticoat,  a  simple  way  to  make 
it  wider  is  to  cut  it  between  the  gores  with  a  straight  cut  from  the  bot- 
tom towards  the  top  a  distance  of  about  12".    Lay  a  piece  of  material 
under  the  opening,  spread  it  open  like  a  V  and  stitch  in  the  extra  piece 
with  lapped  seams.    A  ruffle  may  be  put  on  at  the  bottom  if  desired. 

5.  If  the  prevailing  style  calls  for  narrow  petticoats  and  yours 
are  all  full  and  wide,  rip  the  ruffle  off  the  back  gore,  cut  out  the  gore, 
making  the  skirt  as  much  narrower  as  desired,  cut  a  piece  out  of  the 
ruffle  to  make  it  fit  the  skirt,  join  the  ruffle  again  with  French  or 
felled  seams  and  sew  it  back  in  place.    The  ruffles  may  be  removed 
from  the  skirt  and  the  fullness  taken  off  each  gore,  the  ruffle  made 
smaller,  as   suggested   above,   and  replaced.     The   condition   of  the 
garment   should   govern  the   amount   of  work   that   you   use   in  re- 
modeling it. 

6.  A  boy's  shirt  usually  wears  out  first  around  the  neck  and 
cuffs.    If  you  can  find  any  shirts  at  home  in  this  condition  cut  off  the 
collar  bands  and  cut  the  necks  to  a  V  shape  in  front  and  face  the 
opening.     Cut  the  sleeves  short  enough  to  reach  just  to  the  elbow 
and  hem  with  1/^"  hems,  make  any  other  repairs  necessary.     These 
shirts  will  be  very  comfortable  for  summer. 

7.  Luncheon   sets   instead  of  table   cloths  may  be  used  in  the 
summer  time  to  great  advantage,  as  they  are  easily  laundered  and 
give  a  cool  appearance  to  the  table.    Examine  the  table  linen  at  home 
and  select  a  table  cloth  which  is  beginning  to  wear  out.    Cut  out  the 
good  part  and  make  a  luncheon  set,  stitching  the  hems  on  the  machine 
and  finishing  them  with  double  overcasting  used  in  the  last  lesson  of 
this  section. 


244 


INTRODUCTION  TO  SECTION  VI 

'  I  *HE  work  of  this  section  is  intended  only  for  students  who  have 

completed  the  elementary  processes  set  forth  in  the  earlier  parts 
of  this  book.  The  undergarments  and  others  which  may  not  be 
rendered  worthless  by  a  slight  inaccuracy  in  cutting  and  fitting  were 
presented  in  Section  V;  students  who  have  completed  the  work  of 
that  section  should  be  able  to  undertake  the  work  of  this  section 
wihout  difficulty. 

Before  beginning  any  of  these  projects  the  class  should  make  a 
careful  study  of  Patterns  and  Pattern  Drafting  as  presented  in  Chap- 
ter IV,  of  the  supplement.  Whether  or  not  pupils  are  to  draft  their 
own  patterns,  they  should  by  all  means  become  familiar  with  the 
function  of  patterns.  They  need  also  to  know  something  about  how 
to  take  measures  and  to  apply  them  in  working  out  a  pattern. 

The  illustrated  pages  of  Suggestions  for  Optional  Modifications 
are  not  used  in  this  section;  by  this  time  students  should  be  able  to 
design  and  work  out  modifications  to  suit  individual  taste.  The 
^working  directions  are  not  so  detailed,  neither  are  the  references  given 
for  the  fundamental  stitches,  it  is  supposed  that  girls  who  are  able 
to  undertake  this  work  will  not  need  help  on  the  elementary  processes. 

The  garments  presented  in  this  section  are  all  very  conservative 
in  style;  they  deal  with  foundation  principles  and  the  effort  has  been 
to  present  them  in  such  a  way  as  to  leave  considerable  latitude  for 
adaptation  to  local  style  or  personal  taste. 

A  student  should  not  be  taught  to  make  any  particular  style  of 
waist  or  skirt,  for  the  sake  of  the  garment  alone,  but  she  should  be 
given  a  comprehension  of  all  that  is  fundamental  in  waist  or  skirt 
making;  this  sort  of  garment  making  together  with  the  the  proper 
conception  of  pattern  drafting  will  result  in  real  educational  garment 
making  which  will  enable  the  girls  to  alter,  adapt,  modify  or  even 
ignore  the  dictates  of  undesirable  styles  and  exercise  judgment,  artistic 
taste  and  real  personality  in  handling  their  sewing  problems. 


245 


MIDDY  BLOUSE 

MATERIALS. 

Indian  Head   (Chap.  I,  Par. 

21),  or 
Galatea  (Chap.  I,  Par.  18). 

2V2  to  3  yards  of  material 

above. 
l/2  yard  material  for  collar 

and  cuffs. 
4  yards  braid. 
Tie. 
Thread  No.  70. 


INTRODUCTORY  STATEMENT. 

For  out  of  door  sports  like  tennis,  golf,  etc.,  loose  fitting  gar- 
ments which  will  give  .free  play  to  all  the  parts  of  the  body  are  very 
necessary.  The  middy  with  unconfined  waist  line  makes  a  very 
appropriate  garment  for  this  purpose.  The  middy  is  especially  pop- 
ular at  the  summer  resort,  but  it  is  hardly  suitable  for  wear  in  a 
business  office. 

As  it  usually  has  to  stand  hard  service,  the  favorite  materials 
used  in  making  the  middy  are  the  heavy  cottons,  like  Indian  head, 
and  galatea  cloth. 

The  project  introduced  here  embodies  most  of  the  principles  em- 
ployed in  making  an  unlined  waist  with  a  low  collar;  it  gives  good 
practice  in  simple  fitting,  and  in  setting  in  sleeves  which  is  one  of 
the  important  problems  in  dress  making.  The  middy  generally  has 
very  little  trimming  consisting  usually  of  flat  braid  on  the  collar, 
pocket  and  cuffs.  The  collar  gives  individuality  to  the  middy  so 
different  colors  are  used,  even  flannel  collars  are  sometimes  used. 
The  favorite  colors  are  red,  blue  and  black.  Care  should  be  taken 
to  select  these  in  fast  colors  only.  The  middy  shown  here  is  made 
with  a  red  collar  trimmed  with  white  braid. 


References : 

What  Dress  Makes  of  Us,  Dorothy  Quigley.     Dutton  &  Co.,  N.  Y. 
What   to   Wear,   Elizabeth    Stuart   Phelps.     Houghton. 


246 
WORKING  DIRECTIONS  FOR  MIDDY  BLOUSE 

PREPARING  MATERIAL. 

Shrink  the  white  cotton  material.  If  colored  material  is  used, 
soak  it  in  a  strong  solution  of  salt  water,  to  set  the  color.  NOTE: 
When  colored  material  is  used  for  the  collar  and  cuffs  of  the  middy, 
be  careful  to  select  material  which  is  dyed  with  a  fast  color.  Red  is 
very  likely  to  run;  that  is,  the  color  comes  out  in  the  washing  and 
discolors  the  white  material  in  the  waist. 

PREPARING  THE  PATTERN. 

As  commercial  patterns  in  varying  styles  of  middies  may  be 
purchased,  in  sizes  that  will  fit  the  average  person,  it  would  be  desir- 
able for  you  to  use  one  in  making  this  middy.  However,  you  may 
use  a  drafted  pattern  by  modifying  the  draft  for  the  shirt  waist  given 
in  Chap.  IV.  For  a  plain  middy,  allow  the  pattern  to  extend  about 
6"  below  the  waist  line.  (Do  not  shape  it  in  at  the  wraist  line).  It" 
you  wish  to  have  a  yoke  in  your  middy,  plan  the  depth  and  the  shape 
of  it  and  draw  it  on  the  upper  part  of  your  waist  pattern.  Cut  the 
pattern  in  two  on  the  line,  and  when  you  cut  out  the  waist,  allow  extra 
material  on  the  edges  for  seams.  As  a  middy  usually  has  a  pocket  in 
it  which  is  set  in  on  the  wrong  side  you  may  measure  down  from  the 
shoulder  S1/^"  and  make  an  opening  for  the  pocket  about  2V2"  long 
perpendicular  to  the  front  edge  of  the  pattern;  place  it  about  halt 
way  between  the  armhole  and  the  front  edge.  Use  the  draft  for  the 
shirt  waist  sleeve,  without  fullness  at  the  top.  Cut  off  to  the  length 
desired. 

CUTTING  OUT  THE  MIDDY. 

After  modifying  the  pattern,  place  the  center  front  of  the  yoke 
and  the  lower  part  of  the  middy  on  a  fold  of  the  material,  wide 
enough  to  cut  the  front  in  one  piece.  Place  the  center  back  of  the 
pattern  on  a  fold  of  the  material  in  the  same  way.  Place  the  sleeves 
with  the  crease  in  the  center  of  the  pattern  parallel  with  the  warp 
threads  of  the  goods.  Pin  all  the  patterns  in  place  and  cut  out  the 
middy.  Use  a  commercial  pattern  for  the  collar.  If  the  collar  is  to 
be  made  double,  cut  out  the  upper  portion  from  the  colored  material 
and  the  urtder  portion  from  the  white  material. 

Cut  the  cuffs  the  same  length  as  the  bottom  of  the  sleeves,  making 
them  about  2l/2"  wide  at  the  ends  and  3"  wide  at  the  center. 


247 

JOINING  SEAMS  AND  SETTING  IN  POCKET. 

If  the  middy  is  made  with  a  yoke,  join  the  yoke  to  the  lower 
part  of  the  waist  with  lapped,  or  felled  seams,  before  joining  the  back 
and  front  (make  short  crosswise  cuts  on  the  underturned  edges  of  all 
lapped  seams  around  curves,  to  prevent  puckering). 

Cut  the  front  yoke  down  the  center  front  as  far  as  you  desire  to 
have  it  open  at  the  neck.  Fold  back  and  cut  away  the  extra  material. 

Set  in  the  pocket  before  closing  the  seams.  Cut  one  piece  of 
white  material  for  the  pocket  4"x5".  Cut  another  piece  3V2"x4".  On 
the  end  of  each  sew  a  strip  of  the  colored  material  2"x4" ;  turn  over 
the  faced  ends  about  1/4"  and  turning  in  the  raw  edges  of  the  opening 
cut  for  the  pocket,  lay  these  ends  over  them  on  the  wrong  side,  letting 
them  extend  so  they  show  as  the  piping  on  the  right  side.  Stitch 
along  the  edge  of  the  opening;  continue  the  stitching  on  the  ends 
and  make  parallel  rows  of  stitching  y2"  each  side  of  the  opening  for 
the  pocket.  Turn  the  material  to  the  wrong  side  and  stitch  the  twp 
pieces  together  to  form  the  pocket  on  the  under  side. 

Felled  seams  may  be  used  to  join  the  shoulder  and  under-arm 
seams.  French  seams  may  be  used  to  join  the  sleeves.  Pin  and  baste 
the  sleeves  together  on  the  right  side.  (If  single  cuffs  are  to  be  used 
sew  them  on  before  basting  sleeve  as  directed  below.)  After  the 
seams  are  basted,  try  on  the  middy.  Fit  it  according  to  general  sug- 
gestions for  fitting  a  waist  in  Chap.  IV.  Remember  this  garment 
should  not  be  fitted  in  at  the  waist  line  and  should  be  rather  loose 
fitting  in  every  way.  Pin  in  the  sleeves,  adjust  them  to  the  proper 
length.  Remove  the  garment,  rebaste  on  the  line  of  fitting  and  finish 
the  seams.  Sew  the  sleeves  into  the  armhole  with  lapped  seams. 

THE  CUFFS. 

If  the  cuffs  are  turned  back,  separate  from  the  sleeve,  they 
should  be  made  double.  To  make  them,  first  sew  three  parallel  rows 
of  braid  (as  in  the  illustration)  on  the  colored  piece.  Stitch  the 
colored  material  to  the  white  material  along  the  top  edge,  open  the 
materials  and  stitch  across  the  end,  thus  making  a  circular  cuff. 
(When  this  is  stitched  it  should  be  the  same  length  as  the  bottom  of 
the  finished  sleeve.)  Turn  it  right  side  out.  To  sew  it  on  the  sleeve, 
place  it  so  the  seam  is  even  with  the  seam  in  the  sleeve,  with  the  right 
side  of  the  cuffs  on  the  wrong  side  of  the  material  of  the  sleeve.  Stitch 
the  two  edges  together.  Fold  the  edge  of  the  wrong  side  of  the  cuff 
until  it  covers  the  stitching,  baste  and  stitch  on  the  sewing  machine, 
or  hem  by  hand.  Turn  the  cuff  back  over  the  seam. 


248 

If  you  wish  to  make  the  cuff  single,  it  should  be  made  and  joined 
to  the  sleeve  before  the  sleeve  is  sewed  together.  To  do  this,  place 
the  straight  edge  of  the  cuff  on  the  edge  of  the  bottom  of  the  sleeve. 
Baste  and  stitch  in  place,  turn  in  the  raw  edge  of  the  top  of  the  cuff, 
and  baste  and  stitch  it  to  the  right  side  of  the  sleeve.  Baste  and 
stitch  three  parallel  rows  of  braid  near  the  top  of  the  cuff,  as  in  the 
illustration;  then  make  the  seam  in  the  sleeve,  joining  the  ends  of 
the  cuff  in  this  seam  (be  careful  that  they  are  exactly  even). 

SETTING  THE  COLLAR. 

Sew  the  lining  and  the  top  of  the  collar  together,  leaving  the 
edge  around  the  neck  open;  turn  to  the  right  side,  stitch  on  the  braid 
in  parallel  rows  as  in  the  illustration  (if  desired,  emblems  may  foe 
used  instead  of  braid).  Place  the  center  back  of  the  neck  of  the 
collar  on  the  center  back  of  the  neck  of  the  waist.  Let  the  ends  just 
cross  each  other  in  front.  Baste  the  collar  to  the  neck  of  the  waist, 
turning  the  seam  toward  the  wrong  side.  Trim  the  seam  close  and 
finish  with  bias  tape,  stitched  on  both  edges. 

FINISHING  THE  BOTTOM  OF  THE  MIDDY. 

The  bottom  of  the  middy  may  be  finished  with  a  facing  turned 
to  the  right  side  and  stitched  in  place,  or,  it  may  be  finished  with  a 
double  piece  about  4"  wide,  sewed  to  the  bottom  of  the  middy,  turned 
up  to  the  top  and  left  loose. 

A  middy  is  sometimes  finished  with  a  hem;  use  a  wide  or  a 
narrow  hem  as  desired. 


249 


TAILORED 
WAIST 

MATERIALS. 

Dimity  (Chap.  I,  Par.  15)  or 
Lawn  (Chap.  I,  Par.  23)  or 
Madras  (Chap.  I,  Par.  25)  or 
Percale  (Chap.  I,  Par.  31). 

2a/2  yards  of  36"  material. 

4  buttons. 

Thread  to  correspond  with 

material. 


INTRODUCTORY  STATEMENT. 

The  wearing  of  tailored  suits  has  made  the  separate  hlouse  a 
necessity.  The  style  of  this  separate  blouse  varies  from  the  beautiful 
lace,  chiffon,  net  and  fancy  silk  waists  to  the  semi-tailored  and  the 
strictly  tailored  or  mannish  shirt  waists.  While  the  strictly  tailored 
waist  is  worn  with  stiff  collars  and  cuffs,  it  may  be  modified  by 
changing  the  shape  of  the  collar  and  the  style  of  the  cuffs  into  a 
much  more  comfortable  and  becoming  garment. 

The  heavier  materials  used  in  making  the  shirt  waist  are  linen, 
percale,  and  similar  materials.  Lawn,  voile,  crepe  de  Chine,  China 
silk,  dimity  and  organdie  are  some  of  the  thinner  materials  fre- 
quently used. 

The  white  dimity  waist  shown  in  the  illustration  is  a  simple 
modification  of  the  regular  tailored  waist.  The  rolling  collar  takes 
the  place  of  the  collar  band,  and  the  fitted  cuffs  take  the  place  of  the 
stiffly  starched  cuffs  which  are  usually  fasten  with  links  or  cuff 
buttons. 


References: 


Principles  of  Correct  Dress,  F.  H.  Winterburn. 

The  Well  Dressed  Woman,  H.  G.  Ecob.     Fowler  &  Wells  Co. 


250 

WORKING  DIRECTIONS  FOR  TAILORED  WAIST 

PREPARING  MATERIAL. 
Shrink  the  material  if  cotton  goods  is  used. 

CUTTING  OUT  THE  WAIST. 

A  commercial  pattern  may  be  used  for  this  waist.  If  it  is  used, 
carefully  study  the  guide  chart  and  directions  accompanying  it.  Or, 
if  desired,  patterns  for  the  waist  and  sleeves  may  be  drafted  accord- 
ing to  the  directions  given  in  Chap.  IV. 

If  a  drafted  pattern  is  used  there  is  no  allowance  made  on  the 
front  pieces  for  finishing,  or  lapping;  these  edges  should  be  finished 
before  the  waist  is  cut  out;  then  the  center  front  of  the  pattern  should 
be  laid  on  the  line  where  buttons  and  buttonholes  are  to  be  placed. 
The  front  edges  of  the  waist  shown  in  this  lesson  are  finished  on  the 
wrong  side  with  a  facing  or  hem  about  3l/2"  wide,  as  shown  in  the 
illustration. 

The  front  of  a  shirt  waist  may  be  finished  on  the  right-hand 
side  with  a  hem  about  1%"  wide,  turned  to  the  right  side  and  stitched 
i/4"  from  each  edge,  if  the  material  is  the  same  on  both  sides.  If  the 
material  is  different  on  the  wrong  side,  this  edge  may  be  finished 
with  a  facing  turned  to  the  right  side  and  finished  as  suggested  for 
the  hem.  The  left-hand  edge  may  be  finished  with  a  hem  y2"  or  %" 
wide. 

If  the  waist  is  to  be  tucked,  it  may  be  tucked  before  laying  on  the 
pattern,  then  cut  out  in  the  same  manner  as  a  plain  shirt  waist. 

JOINING  SEAMS. 

A  yoke  should  be  fastened  to  the  body  of  the  waist  with  lapped 
seams.  The  sleeves  and  under-arm  seams  may  be  joined  with  French 
seams,  while  the  shoulders  should  be  joined  with  felled  or  lapped 
seams.  After  the  waist  is  basted  together  it  should  be  tried  on  and 
fitted  (see  suggestions  for  fitting  a  waist,  Chap.  IV).  The  bottom  of 
the  waist  is  to  be  finished  with  a  band  or  peplum,  the  extra  material 
below  the  waist  line  may  be  trimmed  away  at  this  time  (be  careful 
not  to  cut  the  waist  too  short).  After  fitting  remove  waist,  rebaste 
it  if  necessary  and  finish  the  seams. 

FINISHING  THE  NECK. 

& 

With  collar  as  shown  in  illustration.  Cut  a  doubled  strip  of 
material  3"  wide  at  the  ends  and  2V2"  wide  in  the  back  (cut  this  collar 
out  of  scrap  material  first  and  see  that  it  sets  properly  before  you 


251 

cut  it  from  your  waist  material).  Baste  the  ends  and  top  edges  to- 
gether, with  the  center  backs  even,  baste  the  under  side  of  the  collar 
to  the  right  side  of  the  waist,  letting  the  ends  come  out  exactly  even 
with  the  front  edge  of  the  waist,  as  in  the  illustration  (the  neck  curve 
should  be  trimmed  off  the  ends  of  these  front  pieces).  Stitch  in 
place;  turn  the  upper  side  of  the  collar  over  until  it  covers  the  stitch- 
ing. Baste  and  stitch  in  place. 

With  collar  band.  Sew  the  two  pieces  of  the  collar  band  to- 
gether on  the  top  edge;  baste  the  outside  edge  to  the  neck  as  pinned 
in  fitting;  turn  in  and  baste  the  inside  edge  over  the  seam  formed; 
keep  it  just  opposite  the  outside  edge.  Turn  in  the  ends  and  stitch 
all  around  the  collar  band. 

CUFFS. 

Cuffs  shown  in  lesson.  Cut  a  strip  for  each  cuff  G1/^"  wide  and 
long  enough  to  allow  the  hand  to  slip  through  easily  when  the  ends 
are  joined.  As  the  cuff  is  made  double,  sew  one  edge  onto  the  bottom 
of  the  sleeve,  which  may  be  gathered  a  trifle  if  necessary.  Turn  in  the 
raw  edge  on  the  opposite  side  and  fold  it  over  to  cover  the  stitching; 
pin,  baste  and  stitch  in  place.  Sew  the  ends  together  with  the  seam 
of  the  sleeve,  tapering  it  off  toward  the  hand. 

Tailored  Cuffs.  Up  from  the  bottom  edge,  cut  an  opening  4V2" 
long  1"  from  the  center  back  of  the  sleeve.  Finish  this  opening  with 
a  bound  placket  (Chap.  II,  Par.  161),  varying  it  as  follows:  Before 
stitching  the  second  time  trim  off  the  inside  thickness  of  the  placket 
to  within  1/4"  of  the  edge  on  the  upper  side;  baste  and  stitch  it  flat  on 
the  sleeve  on  the  long  edge  and  across  the  end  at  the  top  of  the  placket 
opening. 

To  finish  placket  on  the  outside,  cut  a  strip  l1^"  wide,  and  2" 
longer  than  the  placket  opening;  make  it  pointed  at  one  end,  turn  in 
the  raw  edges;  make  the  straight  end  even  with  the  bottom  of  the 
sleeve  and  one  edge  even  with  the  upper  edge  of  the  placket.  Baste 
and  stitch  it  in  place.  At  the  end  of  the  opening  make  two  parallel 
rows  of  stitching  across  the  placket. 

For  the  cuffs,  cut  two  strips  of  material  10"  long  and  6"  wide; 
cut  two  strips  of  heavy  cotton  material  the  same  length  and  half  the 
width  (for  interlining).  Baste  the  piece  of  interlining  to  the  wrong 
side  of  each  cuff,  making  it  even  on  the  edges.  With  the  .interlining 
on  the  outside,  fold  the  cuff  double  and  stitch  the  two  ends  together. 
Turn  right  side  out  and  baste  around  the  folded  edges.  Place  the 
edge  of  the  interlined  side  on  the  bottom  of  the  sleeve,  making  the 


252 

ends  even  with  the  edge  of  the  placket.  (If  the  cuffs  are  to  be  lapped, 
allow  the  end  of  the  cuff  to  come  to  the  edge  of  the  extension  on 
the  under  side  of  the  placket;  if  they  are  not  to  be  lapped,  but  joined 
with  cuff  links,  turn  the  extension  piece  back  on  the  under  side  ot 
the  sleeves  and  sew  it  in  with  the  cuff).  Baste  and  stitch  the  cuff  in 
place,  gathering  the  sleeves  into  the  cuff  on  the  under  side,  if  neces- 
sary. Turn  in  the  opposite  edge  of  the  cuff;  pin,  baste  and  stitch  in 
place  on  the  right  side  of  the  sleeve.  In  the  center  of  each  end  of  the 
cuff,  V2"  from  the  edge,  work  a  buttonhole  for  the  cuff  link. 

FINISHING  THE  BOTTOM  OF  THE  WAIST. 

With  band.  Gather  the  bottom  of  the  back  edge  of  the  waist  to 
about  10",  starting  and  finishing  the  gathers  2V2"  from  the  under- 
arm seams;  gather  the  lower  edge  of  the  front  pieces  and  draw  them 
up  enough  to  make  the  bottom  of  the  waist  fit  the  band.  Sew  on  the 
band  the  same  as  directed  for  the  tailored  cuffs  (omitting  the  inter- 
lining of  course).  The  band  may  be  made  loose  and  have  a  piece  of 
elastic  run  through  it. 

With  tape.  Baste  and  stitch  a  tape  about  W  wide  over  the  gath- 
ers at  the  waist  line  in  the  back.  Let  the  bottom  of  the  waist  hang 
loose  and  extend  about  4"  below  the  waist  line. 

FASTENINGS. 

Join  the  waist  in  front  with  buttons  and  buttonholes  worked 
lengthwise  and  barred  at  the  ends  (Chap.  II,  Pars.  135-136). 


253 

TAILORED  SKIRT 

MATERIALS. 

Linen     (Chap.  I,  Par.  40)  or 
Galatea  (Chap.  I,  Par.  18)  01 
Indian  Head  (Chap.  I,  Par. 
21). 

Amount  of  material  called 
for  in  commercial  pat- 
tern, or  if  drafted  pattern 
is  used,  plan  from  the 
pattern  (the  amount  will 
vary  with  the  style  of  the 
garment  and  the  size  of 
the  person). 

Belting  2"  longer  than  waist 
measure. 

6  snaps. 

2  large  hooks  and  eyes. 

Thread  No.  70. 

INTRODUCTORY  STATEMENT. 

The  tailored  skirt  is  given  in  this  section  because  it  is  the  foun- 
dation of  all  pleated  or  draped  skirts.  The  principles  involved  in  its 
making  must  be  mastered  before  one  can  hope  to  make  the  more 
elaborate  skirts.  The  beauty  of  the  tailored  skirt  lies  in  the  good 
lines,  careful  machine  stitching,  and  perfect  fit  of  the  garment. 

The  skirt  in  this  lesson  is  made  of  Indian  head,  a  smooth  finished 
material.  Ratine  or  other  rough  finished  goods  should  be  reserved 
until  one  has  had  considerable  practice  in  sewing  for  it  is  very  diffi- 
cult to  stitch  the  rough  material. 

If  you  succeed  in  making  your  skirt  so  it  fits  well,  has  the  lines 
of  the  seams  running  properly,  is  stitched  nicely,  and  hangs  evenly, 
you  may  feel  that  you  have  laid  a  good  foundation  in  your  training 
for  some  of  the  more  difficult  problems  of  skirt  making. 


References : 

Needlework  and  Cutting  Out,  Kate  Stanley. 
Costume,  Arden  Holt. 


254 

WORKING  DIRECTIONS  FOR  TAILORED  SKIRT 

PREPARING  MATERIAL 
Shrink  the  material  and  the  belting. 

CUTTING  OUT  THE  SKIRT. 

A  drafted  pattern  may  be  used  for  the  style  of  skirt  shown  in  the 
illustration  (See  Chap.  IV).  If  you  desire  to  vary  this  skirt  from  the 
plain  skirt  by  pleating  it,  it  is  wise  to  use  a  commercial  pattern.  It 
the  commercial  pattern  is  used,  study  carefully  the  guide  chart  and 
directions  which  accompany  it  (it  is  a  good  plan  to  pin  the  pattern 
together  and  fit  it  before  cutting  out  the  material). 

If  the  drafted  pattern  is  used  for  a  skirt  finished  with  a  pleat  in 
front,  as  shown  in  the  illustration,  fold  over  the  edge  of  the  goods 
lengthwise  and  place  the  center  fold  of  the  pattern  as  far  from  the 
folded  edge  of  the  material  as  you  desire  the  width  of  the  pleat.  The 
other  side  of  the  front  should  be  allowed  to  extend  beyond  the  edge 
of  the  pattern  the  distance  which  it  will  lap  under  the  pleat.  Remem- 
ber, in  cutting  the  back  gores,  to  have  the  straight  edge  of  the  pattern 
laid  parallel  with  the  warp  threads. 

SEAMS. 

The  seams  on  a  tailored  skirt  may  be  finished  in  a  variety  of 
ways.  Heavy  material  is  often  stitched  together  in  plain  seams,  the 
seams  being  finished  with  overcasting.  A  neat  way  to  finish  such 
seams  on  the  right  side  is  to  press  the  raw  edges  on  the  under  side 
of  the  seam  flat  on  the  skirt;  baste  and  stitch  through  them  %"  to  *4" 
from  the  seam  on  the  right  side. 

To  give  a  pleated  effect  at  a  seam,  baste  it  in  the  usual  way;  lay 
both  raw  edges  of  the  seam  flat  against  the  wrong  side  and  stitch 
through  them  from  the  right  side,  making  the  row  of  stitching  par- 
allel with  the  basting;  remove  the  basting  and  a  pleat  will  thus  be 
formed  on  the  right  side. 

In  basting  seams,  be  careful  to  have  the  parts  of  the  skirt  exactly 
even  at  the  top ;  pin  them  together  before  basting  and  use  small  bast- 
ing stitches  near  the  top  so  they  will  not  pull  apart  when  fitted.  It  is 
a  good  plan  to  hold  the  bias"  edges  toward  you  when  basting. 

When  fitting  the  skirt,  follow  the  suggestions  given  in  Chap.  IV. 


255 

PLACKET. 

For  the  placket  opening  under  a  pleat  like  the  one  shown  in  the 
illustration,  use  a  faced  placket  (Chap.  II,  Par.  163).  For  a  placket 
opening  at  the  end  of  an  ordinary  seam,  use  the  extension  placket 
(Chap.  II,  Par.  162).  If  the  skirt  is  gathered,  a  bound  placket' (Chap. 
II,  Par.  161)  may  be  used.  Use  hooks  and  eyes,  or  snaps,  to  hold  the 
placket  closed.  Large  buttons  with  buttonholes  are  sometimes  used 
to  fasten  the  placket  and  to  form  a  trimming  for  the  skirt. 

FINISHING  THE  TOP. 

The  top  of  a  tailored  skirt  is  usually  finished  so  it  can  be  worn 
outside  of  a  shirt  waist.  Belting  is  used  for  this  purpose.  If  the  skirt 
extends  to  the  waist  line,  a  narrow  belting  about  1"  wide  should  be 
used;  if  it  is  to  be  raised  above  the  waist  line,  wider  belting  should  be 
used  (the  width  of  the  belting  will  depend  upon  the  distance  the  skirt 
is  to  be  raised). 

Before  sewing  on  the  belting,  fit  it  to  the  waist,  turn  back  the 
ends  about  1",  and  sew  on  at  least  two  strong  hooks  and  eyes  (use  a 
rounding  eye  and  allow  it  to  extend  over  the  end  of  the  belt  as  shown 
in  Chap.  II,  Par.  133).  The  belting  should  be  hooked  around  the  waist 
allowing  it  to  open  at  the  same  place  the  skirt  is  to  open.  Put  on 
the  skirt  and  pin  it  to  the  belting  near  the  center,  or  bottom  edge  so 
the  raw  edges  at  the  top  of  the  skirt  may  be  turned  in  at  the  top  of 
the  belting. 

Remove  the  skirt;  if  necessary  trim  off  the  top  of  the  skirt,  turn 
in  the  raw  edges,  letting  them  extend  about  %"  above  the  edge  of 
the  belting;  baste  and  stitch  the  skirt  in  place  near  the  top  edge  of 
the  belting.  (It  may  be  necessary  to  trim  off  the  end  of  the  extension 
piece  on  the  placket  to  make  it  fit  in  between  the  upper  side  of  the 
placket  and  the  belting  when  the  skirt  is  fastened  together).  The 
raw  edges  at  the  end  of  this  piece  may  be  turned  in  and  overhanded 
together. 

FINISHING  THE  BOTTOM. 

NOTE:  After  the  belt  is  adjusted,  the  skirt  should  be  evened 
around  the  bottom,  using  the  skirt  gauge  or  a  yard  stick  as  a  guide. 
The  extra  material  may  be  turned  back  on  the  wrong  side  of  the 
skirt  for  a  hem. 

Baste  the  hem  in  place,  as  pinned,  around  the  lower  edge;  make 
it  the  width  desired,  using  a  strip  of  cardboard,  or  gauge,  as  a  guide 
in  making  it  even.  Turn  in  the  raw  edges,  take  up  the  extra  fullness 
in  small  pleats,  baste  and  stitch  the  hem  in  position  (the  quilter 


256 

attachment  on  the  sewing  machine  may  be  used  as  a  guide  in  stitch- 
ing this  hem  parallel  with  the  bottom  of  the  skirt).  A  second  row 
of  stitches  about  %"  from  the  first  row  is  often  used  as  an  additional 
decoration. 

If  there  is  not  enough  material  on  the  bottom  of  the  skirt  to  form 
a  hem,  it  may  be  faced  by  sewing  a  bias  strip  the  width  desired,  to 
the  bottom  of  the  skirt,  turning  it  back  and  finishing  it  like  a  hem. 

A  fitted  facing  may  be  used  if  desired;  it  may  be  sewed  on  in  the 
same  manner  as  the  bias  strip. 


257 

HOUSE  DRESS 

MATERIALS. 

Gingham  (Chap.  I,  Par.  19)  or 
Percale   (Chap.  I,  Par.  31). 

Amount  of  material  called  for 
in  pattern,  if  commercial  pat- 
tern is  used.  If  drafted  pat- 
tern is  used,  figure  from  the 
pattern  the  amount  of  ma- 
terial you  will  need,  as  it  will 
vary  with  the  style  of  the 
garment,  the  size  of  the  per- 
son, and  the  width  of  ma- 
terial. 

8  buttons. 

Thread  No.  70. 


INTRODUCTORY  STATEMENT. 

Every  girl  should  try  to  dress  in  keeping  with  the  work  that  she 
is  doing.  It  would  look  very  inappropriate  to  see  an  office  girl  at 
work  in  an  evening  dress.  It  would  look  just  as  inappropriate  to  see 
a  woman  or  girl  at  work  in  the  house  dressed  in  worn-out  finery. 

As  housework  generally  soils  the  clothes  very  quickly  and  a  wool 
dress  is  more  or  less  difficult  to  clean,  house  dresses  made  of  wash  ma- 
terial which  can  be  laundered  as  frequently  as  necessary  are  much 
preferable. 

A  house  dress  should  be  made  of  good  fast  colored  material,  pre- 
ferably in  one  piece,  with  very  little  trimming.  White  collars  and 
cuffs  made  of  piquet,  lawn,  embroidery  or  a  lace  edge  on  the  collar 
made  of  the  material  of  which  the  dress  is  made,  or  pipings  or  bands 
of  white  piquet  or  contrasting  color,  make  attractive  trimmings  on  a 
house  dress.  A  nicely  made  house  dress  for  a  young  girl  would  also 
be  appropriate  for  school  wear. 

The  house  dress  in  the  illustration  shows  one  type  of  the  tailored 
skirt  combined  with  a  simple  shirt  waist.  This  waist  involves  prac- 
tically the  same  principles  as  are  found  in  the  middy  except  that  it  is 
gathered  into  a  belt  at  the  waist  line  and  is  made  with  a  different 
style  of  collar  and  sleeve. 


References: 

Practical  Dressmaking,  Mrs.  J.  Boughten. 
Home  Dressmaking,  Annie  Myers. 


258 

WORKING  DIRECTIONS  FOR  HOUSE  DRESS 

PREPARING  MATERIAL. 
Shrink  the  material. 

GUTTING  OUT  THE  HOUSE  DRESS. 

For  the  house  dress  shown  in  the  illustration,  the  drafted  patterns 
for  the  shirt  waist,  sleeves  and  plain  gored  skirt  may  be  used  (see 
Ghap.  IV).  As  this  is  a  four-piece  skirt  with  a  side  front  opening 
it  will  be  necessary  to  cut  the  front  gore  of  the  pattern  double.  To 
make  the  side  opening,  measure  from  the  center  front  2"  to  the  right; 
fold  the  pattern,  cut  it  lengthwise  on  the  crease.  The  back  may  be 
made  in  on  piece  by  placing  the  center  back  of  the  back  pattern  on  a 
fold  of  the  material;  or,  it  may  be  cut  in  two  pieces  with  a  seam  up 
the  center  back.  Be  careful  to  allow  for  seams  or  pleats  in  cutting 
out  the  skirt,  if  they  have  not  already  been  allowed  on  the  pattern. 

Finish  the  front  edges  of  the  waist  as  desired  before  cutting  out 
the  waist  with  a  drafted  pattern.  The  right-hand  side  of  the  waist 
in  the  illustration  is  finished  with  a  wide  hem  turned  toward  the 
right  side  and  stitched  ^4"  from  each  edge.  The  left-hand  side  of  the 
opening  is  finished  with  a  %"  hem  turned  towrard  the  wrong  side. 

A  commercial  pattern  may  be  used  in  making  the  house  dress  it" 
desired.  If  one  is  used,  carefully  study  the  guide  chart  and  directions 
which  accompany  it. 

THE  SEAMS. 

The  waist  may  be  joined  at  the  shoulder  with  lapped  or  felled 
seams,  finished  on  the  right  side.  The  under-arm  seams  and  the 
sleeves  may  be  joined  with  French  seams.  The  gores  of  the  skirt  may 
be  joined  with  plain  overcast  seams  if  the  material  is  firm,  like  ging- 
ham, percale,  or  linen.  French  seams  are  used  in  gathered  skirts,  or 
on  thin  material. 

FITTING  THE  HOUSE  DRESS. 

Follow  the  suggestions  given  for  fitting  a  waist  and  skirt  in 
Ghap.  IV,  (be  careful  to  mark  the  waist  line  on  the  waist  with  pins). 

SETTING  IN  SLEEVES. 

The  waist  should  be  tried  on,  the  edges  of  the  armholes  turned 
in  and  the  sleeves  pinned  in  position  so  the  top  will  hang  straight 
from  the  shoulder  to  the  back  of  the  hand,  and  so  the  under-arm 
seam  will  hang  straight  from  the  arm's  eye  to  the  wrist.  The  waist 


259 

should  then  be  removed  and  the  sleeves  basted  and  stitched  in  place 
with  lapped  seams. 

Set-in  sleeves  with  gathers  at  top.  Join  the  seams  of  the  sleeves, 
fold  the  armholes  so  the  shoulder  seams  and  the  under-arm  seams  lie 
together.  Crease  the  fold  formed  on  the  back  and  front  of  one  arm- 
hole;  place  the  seam  of  a  sleeve  in  the  armhole  21/4"  to  2V2"  in  front 
of  the  under-arm  seam.  Pin  the  under  part  of  the  sleeve  to  the  arm-  / 
hole  from  the  crease  on  the  front  to  the  crease  on  the  back.  Gather 
the  top  of  the  sleeve  between  the  two  creases.  Adjust  the  gathers 
allowing  the  greatest  fullness  at  the  top  of  the  sleeve.  Baste  it  in 
place.  Try  it  on,  see  that  it  hangs  as  suggested  for  the  plain  sleeve, 
stitch  in  the  sleeves  and  finish  with  overcasting,  or  binding. 

To  bind  the  sleeve.  Cut  bias  strips  about  %"  wide,  stitch  in  one 
edge  when  you  stitch  in  the  sleeve,  trim  the  seam  to  about  V&"  \  turn 
in  the  raw  edges  of  the  binding  on  the  other  side  and  hem  or  stitch 
in  place.  The  bottom  of  the  sleeves  in  this  lesson  are  finished  with  a 
double  lengthwise  strip  of  the  material. 

Sleeves  are  finished  in  such  a  variety  of  ways,  however,  that  no 
attempt  is  made  here  to  explain  any  one  method. 

FINISHING  THE  NECK. 

The  simple  turned-over  collar  shown  in  this  lesson  should  be  cut 
from  a  commercial  pattern  and  sewed  together  around  the  outside 
edges.  With  the  center  back  of  the  waist  and  center  back  of  the  collar 
together,  pin,  baste  and  stitch  the  neck  of  the  collar  and  the  waist 
together.  Fold  the  upper  edge  of  the  collar  over  and  turn  under  the 
raw  edges  until  it  covers  the  stitching;  pin,  baste  and  hem  or  stitch 
in  place.  These  directions  are  suitable  for  any  double  collar.  If  a 
single  collar,  is  used,  sew  it  to  the  neck  with  bias  tape. 

JOINING  WAIST  AND  SKIRT. 

The  dress  in  this  lesson  is  joined  with  a  band  of  material  like  that 
used  in  making  the  waist.  After  the  waist  and  skirt  are  completed 
(with  the  exception  of  the  bottom  of  the  skirt)  put  on  the  waist,  which 
should  be  gathered  at  the  waist  line;  adjust  the  gathers  in  the  waist; 
trim  off  extra  material  below  waist  and  put  on  the  skirt.  With  both 
edges  of  the  band  turned  under,  pin  the  lower  edge  to  the  skirt  and 
the  upper  edge  to  the  waist.  (Make  the  skirt  even  around  the  bottom 
and  turn  up  the  extra  material.)  Remove  the  dress,  cut  away  the 
extra  material  under  the  band,  leave  the  bottom  of  the  waist  extend- 
ing about  %"  below  the  top  edge  of  the  band,  baste  in  place;  on  the 


260 

under  side  pin  and  baste  a  strip  the  same  width  as  the  band  (for  a 
lining) ;  stitch  this  lining  in  place. 

FINISHING  THE  BOTTOM  OF  THE  SKIRT. 

Baste  the  hem  in  position,  as  marked,  make  it  even,  using  a  gauge 
or  strip  of  cardboard  as  a  guide;  lay  the  extra  fullness  in  small  pleats, 
pin,  baste  and  stitch  the  hem  in  place. 

FASTENINGS. 

The  house  dress  in  the  illustration  is  fastened  with  buttons  and 
buttonholes;  snaps  or  hooks  and  eyes  may  be  used,  instead  of  but- 
tons if  desired.  (Do  not  use  snaps  on  the  belt.) 


261 


SCHOOL  DRESS 

MATERIALS. 

Linen  (Chap.  I,  Par.  40)  or 
Percale  (Chap.  I,  Par.  31)  or 
Gingham  (Chap.  I,  Par.  19). 

Amount  of  material  called 
for  in  commercial  pattern. 

Thread  No.  70. 

Fastenings    necessary,    ac- 
cording to  style  of  dress. 

Belting,     2"     longer     than 
waist  line. 


INTRODUCTORY  STATEMENT. 

During  their  school  days,  girls  are  forming  habits  that  will  last  a 
life  time.  It  is  very  essential  that  they  get  into  the  habit  of  dressing 
appropriately  for  school.  The  schoolroom  is  the  school  girl's  place  of 
business  and  she  should  take  just  as  much  pride  in  coming  there  prop- 
erly dressed  as  the  successful  business  girl  does  in  appearing  properly 
dressed  for  her  work.  A  girl  should  learn  to  distinguish  between  what 
is  appropriate  and  what  is  inappropriate  to  wear.  This  can  be  done 
only  by  observation  and  thoughtful  study  of  the  problem. 

The  well  dressed  girl  will  avoid  enormous  bows  on  her  hair, 
extremely  low  cut  necks  in  her  dresses,  over  trimmed  effects  and 
gaudy  or  too  striking  combinations  of  colors.  The  school  dress  should 
be  comfortable,  neat  and  attractive;  it  should  be  made  on  very  simple 
lines,  preferably  in  one  piece  so  there  will  be  no  danger  of  it  "appear- 
ing in  two  parts"  at  the  waist  line.  Summer  dresses  for  school  are 
appropriately  made  of  plain  finished  cotton  materials  like  ginghams, 
percales,  chambrays  or  linens.  Serge  and  panama  are  very  practical 
fabrics  for  winter  dresses. 

The  dress  in  this  lesson  is  made  of  dark  gingham,  trimmed  with 
white  braid.  The  white  trimmed  collar  and  cuffs  give  a  clean,  cool 
appearance  to  the  dress. 


References: 

Dress,  Mrs.  Oliphant. 

History  of  Development  of  Dress,  A.  C.  Johnson. 


262 
WORKING  DIRECTIONS  FOR  SCHOOLJDRESS 

PREPARING  MATERIAL. 

If  the  material  is  colored,  soak  it  in  salt  water  to  set  the  color; 
if  not,  shrink  it. 

THE  PATTERN. 

The  dress  in  the  illustration  is  made  after  the  so-called  Peter 
Thompson  style  of  dress.  When  you  have  completed  the  work  of  the 
first  five  sections,  you  should  be  able  to  make  this  sort  of  dress  very 
satisfactorily.  The  directions  given  for  this  dress  are  for  a  cotton 
dress.  (If  you  wish  to  use  wool  material  for  your  dress,  follow  the 
directions  for  making  a  wool  dress).  It  will  be  advisable  for  you  to 
use  a  commercial  pattern  in  making  this  dress.  (You  will  find  it  very 
helpful  and  interesting  to  draft  a  pattern  and  modify  it  into  one 
similar  to  the  one  you  have  selected  for  your  dress.) 

CUTTING  OUT  THE  MATERIAL. 

Study  the  guide  chart  and  directions  accompanying  the  com- 
mercial pattern.  Where  notches  are  necessary,  be  careful  to  make 
them  very  small;  plan  your  material  economically. 

SEAMS  AND  PLEATS. 

Where  a  tailored  effect  is  desired,  use  felled  or  lapped  seams. 
If  the  skirt  is  to  be  gathered,  materials  like  linen,  gingham  or  percale 
should  be  joined  with  overcast  seams. 

Any  pleats  which  the  pattern  indicates  may  be  marked  on  both 
sides  of  the  skirt  at  the  same  time  by  basting  through  the  perforations 
which  indicate  the  pleats  (with  long  uneven  basting  stitches)  through 
both  thicknesses  of  the  material.  When  you  remove  the  pattern,  cut 
the  basting  threads  and  lift  one  piece  of  the  material  away  from  the 
other  about  1/2";  cut  the  threads  between  them,  leaving  a  row  of  cut 
threads  on  each  piece  of  material.  As  a  rule,  pleats  should  be  basted 
in  place  before  joining  the  gores  of  the  skirt. 

TO  MAKE  EYELETS  FOR  LACING. 

The  back  of  the  skirt,  shown  in  the  illustration,  is  laced  with  braid 
drawn  through  eyelets. 

To  make  an  eyelet.  With  a  stilletto  (a  pointed  bone  or  steel 
punch  used  in  embroidery  work)  punch  a  small  hole  in  the  goods, 
gradually  enlarge  it  (being  careful  not  to  break  the  threads  in  the 
material)  until  it  is  the  size  desired.  With  thread  to  match  the  ma- 


263 

terial,  sew  over  and  over  around  the  opening  occasionally  enlarging  it, 
or  keeping  it  in  shape  with  the  stilletto. 

FITTING. 

When  you  have  decided  on  the  kind  of  seams  most  suitable  to 
use  in  your  dress,  baste  it  together,  laying  in  pleats  wrhere  necessary. 
(Be  careful  to  have  the  gores  of  the  skirt  even  at  the  top;  pin  them 
together  before  basting;  use  small  basting  at  the  top  of  the  seam,  or 
any  place  where  there  is  likely  to  be  any  strain  in  fitting,  which 
might  pull  the  basted  seams  apart.)  After  the  garment  is  basted,  try 
it  on  and  fit  it  as  directed  in  Chap.  IV. 

SLEEVE. 

A  sleeve  like  the  one  shown  in  the  illustration  should  have  the 
pleats  at  the  bottom  sewed  in,  also  the  cuff  braided  and  set  on,  before 
sewing  it  together.  As  they  are  plain  at  the  top,  the  sleeves  should 
be  set  in  with  lapped  seams  (be  careful  that  each  sleeve  hangs  straight 
from  the  shoulder  to  the  back  of  the  hand,  and  that  the  under-arm 
seams  hang  straight  from  the  curve  of  the  arm's  eye  to  the  front  of 
the  wrist). 

SAILOR  COLLAR. 

The  sailor  collar  should  be  braided  and  lined  before  it  is  sewed 
to  the  waist.  To  sew  it  on,  place  the  center  back  of  the  lining  on  the 
center  back  of  the  waist,  pin,  baste,  and  sew  it  to  the  neck  of  the 
waist  with  a  1/4"  seam.  Turn  this  seam  inside  the  collar  and  fold  the 
right  side  of  the  collar  over  it,  turn  in  the  raw  edges  to  cover  the 
stitching,  pin,  baste  and  hem  it  around  the  neck. 

THE  YOKE. 

The  yoke  should  be  braided,  lined  on  the  back,  and  hemmed  to 
the  waist  on  the  right  side  with  small  stitches,  as  shown  in  the 
illustration. 

JOINING  THE  WAIST  AND  SKIRT. 

The  dress  in  this  lesson  is  joined  with  a  band  of  the  same  ma- 
terial, a  very  common  method  of  joining  dresses  of  this  character. 
The  belt  should  be  cut  long  enough  to  extend  around  the  waist  and 
allow  for  the  extra  length  necessary  to  open  the  skirt  on  the  side. 
Take  a  piece  of  soft  belting,  the  width  desired  for  the  band,  fit  it  to 
the  waist,  turn  back  the  ends,  sew  on  hooks  and  eyes  (use  the  round 
eyes  and  let  them  extend  over  the  end  of  the  belting,  as  shown  in 
Chap.  II,  Par.  133).  Hook  the  belt  around  the  waist,  letting  it  open 


264 

at  the  center  front;  put  on  the  waist,  pin  it  to  the  top  of  the  belting 
and  trim  away  the  extra  material;  put  on  the  skirt  and  pin  it  to  the 
lower  part  of  the  belt,  leaving  loose  the  edge  which  must  extend 
beyond  the  center  front;  turn  in  the  edges  of  the  material  cut  for  the 
belt,  and  line  the  end  which  is  to  be  fastened  to  the  loose  edge  of  the 
skirt.  Pin  it  in  place  over  the  skirt  and  waist;  make  the  skirt  even 
around  the  bottom  and  remove  the  dress;  baste  the  belt  where  it  has 
been  pinned  and  stitch  it  in  place.  (This  is  a  different  method  than 
the  one  given  for  joining  the  house  dress.) 

FINISHING  THE  BOTTOM. 

After  the  skirt  has  been  evened  at  the  bottom,  baste  it  along  the 
bottom  as  indicated  by  the  pins;  even  the  hem,  using  as  a  guide  a 
strip  of  cardboard  cut  the  desired  length;  pin,  baste,  turn  in  the  raw 
edge  and  stitch  the  hem  in  place,  laying  in  the  extra  fullness  in 
small  pleats. 

FASTENINGS. 

A  dress  of  this  kind  may  be  fastened  with  buttons  and  button- 
holes, with  snaps  or  hooks  and  eyes.  (Do  not  use  snaps  on  the  belt.) 

TRIMMING. 

A  school  dress  may  be  trimmed  very  appropriately  with  bias 
folds  of  contrasting  material,  with  pipings,  or  with  buttons.  Lace 
should  not  be  used. 


265 


WOOL  DRESS 

MATERIALS. 

Serge  (Chap.  I,  Par.  62)  or 
Panama  (Chap.  I,  Par.  61). 

Amount  of  material  called 
for  in  commercial  pattern. 

Trimmings  appropriate  for 
design  selected. 

Belting,  2"  longer  than 
waist  measure. 

Hooks  and  eyes,  and  snaps. 

Silk  thread  to  match  ma- 
terial for  stitching. 

Cotton  thread  for  basting. 

Braid  (mercerized)  for  skirt 
binding. 


INTRODUCTORY  STATEMENT. 

While  many  women  and  girls  prefer  to  wear  a  separate  blouse 
with  a  tailored  skirt  in  the  winter  time,  most  of  them  feel  the  need 
of  at  least  one  wool  dress.  Most  of  the  principles  that  apply  to  the 
making  of  a  cotton  dress  can  be  used  in  making  a  wool  dress,  but 
as  there  are  some  things  that  must  be  emphasized  in  making  up  wool 
materials  which  do  not  require  consideration  with  cotton  materials, 
it  is  well  worth  while  to  study  this  lesson  on  the  making  of  a  wool 
dress  in  order  to  bring  out  some  of  these  points.  The  kind  of  ma- 
terial used  in  making  the  dress,  as  well  as  the  style  in  which  it  is  to  be 
made,  will  depend  on  the  kind  of  service  it  is  to  give.  Care  should  be 
taken  to  see  that  the  color  selected  is  becoming  and  that  the  style 
planned  is  suitable  for  the  figure  of  the  one  who  is  to  wear  it.  If 
thoughtful  consideration  is  given  on  these  points,  much  greater  satis- 
faction will  be  found  in  the  completed  garment. 

The  woolen  materials  for  winter  are  usually  dark  in  color  and 
for  that  reason  are  less  likely  to  be  becoming  to  the  average  com- 
plexion; this  makes  it  necessary  to  exercise  some  care  in  the  selection'. 
The  above  dress  is  made  of  dark  blue  wool  serge  trimmed  with  white 
silk  braid  and  a  white  collar.  The  white  against  the  face  with  the 
blue  background  makes  it  exceedingly  becoming  to  a  girl  with  dark 
eyes  and  black  hair. 


References: 

Color  Harmony  in  Dress,  George  Ashdown.     McBride,  Nast  Co.,  N.  Y. 
Wool,  Journal  of  Education,  Vol.  XLV. 


266 
WORKING  DIRECTIONS  FOR  WOOL  DRESS 

PREPARING  MATERIAL. 

Many  of  the  better  grades  of  wool  material  are  sponged  and 
pressed  so  they  will  not  spot  when  wret.  This  is  usually  indicated  on 
the  selvage.  It  is  advisable  to  look  on  the  selvage  to  see  that  this 
has  been  done;  if  it  has  not,  sponge  and  press  the  material  yourself, 
as  directed  in  Chap.  Ill;  or  you  may  have  it  done  at  a  dry  goods 
store  or  a  tailor  shop.  Unless  this  is  done,  shiny  finished  materials 
like  broadcloth  are  very  likely  to  spot  when  pressing  the  seams  in 
making,  and  afterwards  if  a  drop  of  water  falls  on  them. 

CUTTING  OUT  THE  GARMENT. 

A  commercial  pattern  should  be  used  unless  the  dress  is  made 
in  a  very  simple  style,  when  the  drafted  pattern  may  be  used.  If  a 
commercial  pattern  is  used,  carefully  study  the  guide  chart  and 
directions  which  accompany  it. 

FITTING  THE  GARMENT. 

After  the  garment  has  been  cut  out,  baste  it  together  and  fit  it 
according  to  suggestions  in  Chap.  IV. 

JOINING  AND  FINISHING  THE  SEAMS. 

The  kind  of  seams  used  in  joining  a  wool  dress  will  depend 
considerably  on  the  style  of  the  garment.  If  a  tailored  effect  is  de- 
sired, lapped  or  stitched  felled  seams  should  be  used.  In  a  garment 
where  the  seams  should  be  inconspicuous,  as  in  a  circular  or  gath- 
ered skirt,  use  the  overcast  seams  or  finish  them  with  binding  ribbon 
or  bias  tape  on  the  wrong  side. 

To  finish  a  seam  with  binding  ribbon,  press  it  open  by  dampen- 
ing it  on  the  wrong  side  with  a  wet  cloth  and  pressing  it  with  a 
warm  iron.  Fold  the  binding  ribbon  together,  allowing  one  edge 
to  extend  beyond  the  other  about  %".  Press  it  with  an  iron.  Place 
the  binding  ribbon  over  the  edge  of  the  seam  with  the  wider  part 
on  the  under  side  of  the  seam.  Sew  both  edges  of  the  ribbon  in  place 
at  the  same  time  with  running  stitches. 

To  finish  a  seam  with  commercial  tape,  press  open  the  seam  of 
the  skirt  as  directed  above.  Crease  the  tape  in  the  center  with  the 
iron.  Baste  one  edge  of  the  tape  to  the  under  side  of  the  seam  with 
small  stitches,  so  the  center  crease  will  lie  over  the  edge  of  the  seam. 
Baste  the  opposite  edge  of  the  bias  tape  to  the  upper  side  of  the  seam 


267 

and  stitch  it  on  the  machine.  (With  practice  the  second  basting  will 
be  unnecessary). 

Seams  that  are  not  pressed  open  should  be  overcast  together. 

Seams  of  felted  materials  like  broadcloth  which  do  not  ravel, 
may  be  notched  with  the  scissors. 

JOINING  WAIST  AND  SKIRT. 

After  the  waist  is  completed,  except  at  the  waist  line,  and  the 
skirt  is  finished,  except  making  it  even  at  the  bottom,  the  two  may 
be  joined. 

If  the  dress  is  long  waisted,  like  the  one  shown  in  the  illustra- 
tion, the  bottom  of  the  waist  may  be  turned  under,  basted  over  the 
top  of  the  skirt  and  stitched  flat. 

If  there  is  to  be  a  girdle  on  the  dress,  join  the  waist  and  skirt 
in  this  manner:  Fit  the  belting  to  the  waist,  turn  back  and  stitch 
the  ends  and  sew  on  as  many  strong  hooks  and  eyes  as  are  necessary 
to  keep  it  from  gaping  (use  the  round  eyes  and  let  the  eyes  extend 
over  the  edge  of  the  belt,  as  directed  in  Chap.  II,  Par.  133).  Hook 
the  belt  around  the  waist,  put  on  the  waist,  adjust  the  gathers  at  the 
waist  line  and  pin  the  bottom  of  the  waist  to  the  top  of  the  belting. 
Put  on  the  skirt  and  pin  the  top  of  it  to  the  lower  edge  of  the  belting. 
Remove  the  dress,  baste  and  stitch  the  waist  and  skirt  to  the  belting; 
cover  the  raw  edges  by  hemming  a  strip  of  material  over  them. 

NOTE:  When  the  skirt  and  the  waist  do  not  open  at  the  same 
place,  have  the  belting  open  with  the  one  where  it  seems  most  con- 
venient. If  part  of  the  waist,  or  part  of  the  skirt  cannot  be  fastened 
to  the  belting,  it  should  be  faced  or  finished  with  a  band,  and  held 
in  its  proper  place  with  hooks  and  eyes,  or  snaps. 

The  girdle  may  be  made  separate  or  it  may  be  fastened  to  the 
dress.  If  it  is  fastened  to  the  dress,  it  is  not  necessary  to  cover  the 
raw  edges  of  the  waist  and  skirt  on  the  belting  with  the  strip  of 
material  suggested  above.  If  the  dress  is  to  be  finished  without  a 
girdle,  hook  the  belting  around  the  waist,  adjust  the  fullness  at  the 
waist  line  of  the  waist  and  pin  it  to  the  top  of  the  belting;  cut  off  the 
extra  material.  Pin  the  skirt  to  the  bottom  of  the  belting  in  a  few 
places,  turn  in  the  top  edge,  place  it  over  the  gathers  in  the  waist 
and  pin  it  in  place  with  the  edge  a  trifle  above  the  top  edge  of  the 
belting.  Remove  the  dress,  baste  and  stitch  the  top  of  the  skirt  to  the 

waist  and  belting. 

THE  FASTENINGS. 

The  wool  dress  is  usually  fastened  with  hooks  and  eyes,  or 
snaps.  (Remember  snaps  should  never  be  placed  where  there  is 
much  strain  on  them  as  they  will  pull  apart). 


268 

TRIMMINGS. 

Silk  braid  is  a  trimming  which  is  often  used  on  wool  dresses. 
It  may  be  basted  in  place  and  stitched  on  the  edges  with  the  sewing 
machine.  Soutache  braid  may  be  sewed  on  in  the  same  way  with 
one  row  of  stitching  in  the  center. 

FINISHING  THE  BOTTOM  OF  THE  SKIRT. 

After  the  skirt  is  evened  at  the  bottom,  baste  the  bottom  of  the 
hem  as  marked;  trim  the  hem  off  even  and  sew  bias  tape  on  the 
top  of  it,  as  in  binding  seams.  The  fullness  in  the  top  of  the  hem 
may  be  removed  by  holding  the  tape  tight  as  you  sew.  Press  the  top 
of  the  hem  using  a  damp  cloth  (press  it  until  it  is  dry);  baste  and 
stitch  in  place. 

Broadcloth  and  similar  felted  material  may  be  notched  at  the 
top  of  the  hem,  then  the  hem  may  be  stitched  in  place.  The  hems  of 
light  weight  materials  that  ravel  easily  may  be  finished  by  turning  in 
the  raw  edges,  pleating  in  the  extra  fullness,  basting,  and  stitching 
them  in  place. 


269 


SILK  DRESS 

MATERIALS. 

Foulard  (Chap.  I,  Par.  74),  or 
Taffeta  (Chap.  I,  Par.  78). 

Amount  of  material  called  for 
in  commercial  pattern. 

Belting  2"  longer  than  waist 
measure. 

Silk  thread  to  match  material. 

Trimmings  suitable  for  this 
style  of  dress. 


INTRODUCTORY  STATEMENT. 

Of  all  the  fabrics,  silk  is  considered  the  most  beautiful.  As  it 
is  more  or  less  expensive  and  will  not  stand  the  hard  service  to  which 
every  day  garments  are  subjected,  it  is  usually  reserved  for  the 
making  of  gowns  which  are  to  be  worn  on  special  occasions. 

Silks  are  frequently  made  up  in  very  simple  styles  which  are 
suitable  for  street  wear.  The  darker  shades  of  foulards,  taffetas, 
crepe  de  Chines,  moires  or  messalines  are  all  suitable  for  this  purpose. 
When  silk  materials  are  combined  with  fancy  trimmings  they  are 
suitable  for  afternoon  or  evening  wear.  The  delicate  colored  silks 
should  be  used  for  party  dresses. 

A  silk  dress  made  after  the  fashion  of  the  dress  shown  in  the 
illustration  is  suitable  for  street  wear  or  semi-dressy  occasions. 

The  style  of  a  dress  of  this  sort  varies  considerably  from  season 
to  season;  it  is  therefore  necessary  to  use  judgment  in  adapting  the 
changing  styles  to  your  personal  needs. 


References: 

Silk,  Journal  of  Education,  Vol.  XLV. 
Silk  Industry  in  America,  L.  P.  Brockett. 


270 
WORKING  DIRECTIONS  FOR  SILK  DRESS 

SELECTION  OF  MATERIAL. 

Until  you  have  had  a  great  deal  of  experience  in  sewing,  it  will 
be  wise  for  you  to  select  silk  materials  with  enough  body  to  keep 
them  from  pulling  and  slipping  when  you  are  working  with  them. 
Materials  like  foulard  or  taffeta  will  be  most  suitable.  Materials  like 
crepe  de  Chine  are  very  difficult  to  work  with  and  should  not  be 
used  until  you  have  become  skillful  in  dressmaking. 

THE  PATTERN. 

The  design  shown  in  this  lesson  offers  a  good  way  to  make  over 
last  year's  dress  by  the  combination  of  two  materials.  For  your 
dress,  it  will  be  well  to  select  a  simple  design  in  which  you  can 
give  beauty  to  the  garment  by  the  perfection  of  your  work.  Use  a 
commercial  pattern. 

CUTTING  OUT  THE  DRESS. 

Study  carefully  the  guide  chart  and  the  directions  accompanying 
the  pattern;  pin  the  pattern  to  the  material  carefully  and  use  very 
sharp  shears  to  cut  out  the  garment.  (Dull  shears  will  pull  the  silk; 
if  you  have  this  difficulty,  put  a  piece  of  newspaper  under  the  silk 
and  cut  it  with  the  silk.) 

LININGS. 

While  fitted  linings  are  not  used  as  commonly  as  they  previously 
were,  semi-fitted  linings  are  often  used  in  the  wraists  of  silk  dresses. 
Net,  china  silk  and  seco  silk  (a  thin,  mercerized  cotton  material)  are 
most  generally  used  for  this  purpose. 

THE  SEAMS. 

A  lined  waist  should  be  sewed  together  with  plain  seams.  The 
lining  should  be  sewed  up  separately  from  the  waist  and  the  seams 
turned  inside  so  it  will  not  be  necessary  to  finish  either  the  seams 
of  the  waist  or  the  lining.  For  unlined  silk  waists,  overcast  or 
French  seams  may  be  used. 

For  gathered  skirts,  French  seams  are  generally  used.  Where 
a  more  tailored  effect  is  desired,  plain  seams  may  be  stitched  about 
Ys"  from  the  seam  on  the  right  side.  Soft  materials  are  often  stitched 
over  tissue  paper,  or  newspaper,  to  keep  the  stitching  from  drawing 
or  fulling  the  silk.  You  should  see  that  the  point  of  the  machine 
needle  is  sharp,  as  a  blunt  needle  will  pull  the  threads  of  silk. 


271 

Machine  hemstitching  is  often  used  to  join  seams  in  the  waist, 
excepting  the  under-arm  seams.  If  you  wish  to  send  this  work  to  a 
professional,  baste  all  the  seams  before  sending  the  garment  to  be 
hemstitched. 

FITTING. 

After  the  seams  are  basted,  try  on  the  dress  and  fit  it,  following 
the  suggestions  for  fitting  in  Chap.  IV.  (Be  very  careful  that  the 
dress  is  fitted  so  there  is  no  strain  on  the  silk  in  any  part;  be  especi- 
ally careful  about  the  sleeves  at  the  elbows  and  the  skirt  at  the  hips.) 

SETTING  IN  THE  SLEEVES. 

The  sleeves  should  be  finished  before  they  are  stitched  in.  They 
may  be  set  in  the  armhole  with  a  plain  overcast  seam;  they  may  be 
set  in  with  hemstitching  as  suggested  in  a  previous  paragraph,  or 
the  armholes  may  be  finished  with  cable  cord.  To  do  this,  cut  bias 
strips  about  %"  wide,  lay  the  cable  cord  (the  size  desired)  on  the 
wrong  side  of  the  strip.  Sew  the  cable  cord  in  with  running  stitches. 
Turn  in  the  edge  of  the  armhole  and  baste  in  the  bias  strip,  letting 
the  covered  cable  cord  extend  just  beyond  the  edge  of  the  armhole. 
Lay  the  top  of  the  sleeve  in  as  if  you  were  going  to  make  a  lapped 
seam.  Baste  it  in  place;  stitch,  using  a  presser  foot  especially  de- 
signed for  this  work  (if  your  machine  has  this  presser  foot). 

THE  NECK. 

If  the  dress  is  made  with  a  fitted  collar,  pin  on  the  collar  before 
trimming  out  the  neck.  If  a  yoke,  or  guimpe,  is  used  with  the  dress, 
join  the  collar  to  the  neck  by  stitching  it  flat  on  the  yoke;  trim  tlie 
raw  edge  down  to  about  *4"  and  overhand  over  it,  making  a  tiny 
rolled  seam  on  the  wrong  side. 

Such  a  collar  should  be  stayed  to  keep  it  up  around  the  neck. 
Sew  one  collar  stay  about  1^/2"  each  side  of  the  center  front  of  the 
collar  allowing  it  to  slant  back  slightly  at  the  top;  sew  another  one 
on  each  side,  even  with  the  shoulder  seam,  and  one  on  the  under 
side  of  the  back  opening. 

PLACKETS. 

Where  the  opening  comes  under  a  pleat  in  the  skirt,  use  a  faced 
placket  (Chap.  II,  Par.  163).  Use  a  bound  placket  (Chap.  II,  Par.  161) 
in  a  full  skirt. 

JOINING  WAIST  AND  SKIRT. 

The  dress  in  this  lesson  may  be  joined  with  a  band  of  the  ma- 
terial. The  belt  should  be  cut  long  enough  to  extend  around  the 


272 

waist  and  allow  for  the  extra  length  necessary  to  open  the  skirt  on 
the  side.  Take  a  piece  of  soft  belting,  the  width  desired  for  the  band, 
fit  it  to  the  waist,  turn  back  the  ends  and  sew  on  hooks  and  eyes  (use 
the  round  eyes  and  let  them  extend  over  the  end  of  the  belting,  as 
shown  in  Chap.  II,  Par.  133).  Hook  the  belt  around  the  waist,  letting 
it  open  at  the  center  front;  put  on  the  waist,  pin  it  to  the  top  of  the 
belting,  trim  away  the  extra  material;  put  on  the  skirt  and  pin  it  to 
the  lower  edge  of  the  belt,  leaving  loose  the  edge  which  must  ex- 
tend beyond  the  center  front;  turn  in  the  edges  of  the  material  cut 
for  the  outside  belt,  line  the  end  which  is  to  be  fastened  to  the  loose 
edge  of  the  skirt.  Pin  it  in  place  over  the  skirt  and  waist,  even  the 
skirt  at  the  bottom;  remove  the  dress,  baste  the  belt  where  it  has 
been  pinned  and  stitch  it.  Make  the  wide  silk  belt  shown  in  this 
lesson  separate  and  sew  it  over  the  other  by  hand. 

FASTENINGS. 

The  placket  and  other  openings  in  the  dress  may  be  held  together 
with  hooks  and  eyes  and  snaps.  (Remember  that  snaps  should  not 
be  placed  on  the  belt,  or  any  place  where  there  is  a  strain  that  will 
pull  them  apart.) 

FINISHING  BOTTOM. 

After  the  skirt  is  evened  at  the  bottom,  turn  up  the  hem,  baste  it 
around  the  bottom  edge,  even  it  to  the  width  desired  (about  3"  to  5") ; 
turn  in  the  raw  edge,  pin  and  baste  in  place,  gathering  in  the  extra 
fullness  or  removing  it  with  tiny  pleats.  Sew  the  hem  in  place  by 
hand  with  hemming  stitches. 


273 


LINGERIE 
DRESS 

MATERIALS. 

Organdie  (Chap.  I,  Par.  29) 

or 

Lawn  (Chap.  I,  Par.  23)  or 
Handkerchief  Linen  (Chap. 

I,  Par.  46). 

Amount  of  material  called 
for  in  commercial  pattern. 

Suitable  trimming  for  style 
selected. 

Belting  2"  longer  than  waist 
line. 

Thread  No.  90. 


INTRODUCTORY  STATEMENT. 

The  long  hot  days  of  summer  afford  an  opportunity  for  a  girl  to 
wear  pretty  lingerie  dresses  made  of  the  exquisite  organdies,  Swisses, 
mulls,  dimities,  voiles,  and  lawns  which  are  so  universally  becoming. 
If  a  girl  is  able  to  make  her  own  dresses  and  has  the  time  to  do  it, 
she  can  have  a  variety,  for  very  pretty  ones  can  be  made  with  small 
cost  if  there  are  no  dressmaker's  bills  to  pay. 

The  tall,  slender  girl  may  make  an  attractive  appearance  when 
thin  summer  dresses  are  in  vogue,  for  the  ruffles  used  so  much  in 
trimming  them  will  appear  to  lessen  her  height  and  thus  give  her  a 
better  proportioned  figure.  The  girl  who  is  inclined  to  be  short  and 
stout  should  select  materials  with  stripes  and  make  them  up  length- 
wise (up  and  down),  avoiding  ruffles  or  trimming  with  stripes  run- 
ning around.  She  should  also  avoid  any  sort  of  striking  girdle. 

The  dress  in  this  lesson  is  planned  to  bring  in  as  many  as  possible 
of  the  special  features  necessary  in  the  making  of  any  lace  trimmed, 
thin  dress.  Notice  that  this  dress  is  designed  for  a  tall,  slender  girl. 


References: 


Beauty  in  Dress,  Oakey. 

Lessons  in  Garment  Drafting,  Gingles.     Seemann  &  Peters,  Saginaw. 


274 

WORKING  DIRECTIONS  FOR  LINGERIE  DRESS 

PREPARING  MATERIAL. 

Many  people  object  to  shrinking  fine  organdie,  because  it  takes 
off  a  little  of  the  new  look.  If  you  do  not  shrink  it,  you  should  make 
allowance  for  lengthening  the  skirt  and  waist  after  the  dress  is 
laundered. 

SELECTING  THE  PATTERN. 

Before  making  a  dress  similar  to  the  one  shown  in  this  lesson, 
you  should  have  had  considerable  experience  in  making  plainer 
dresses;  if  you  have  not,  select  a  less  elaborate  style  for  your  dress. 
Use  a  commercial  pattern. 

CUTTING  OUT  THE  DRESS. 

Study  carefully  the  guide  chart  and  directions  accompanying  the 
pattern;  cut  out  the  dress  according  to  directions.  NOTE:  In  making 
this  dress  you  should  be  very  careful  to  keep  the  table  and  machine 
carefully  dusted  so  you  will  not  have  to  launder  the  dress  as  soon  as 
it  is  finished.  Wear  a  white  apron  and  keep  your  hands  scrupulously 
clean. 

THE  SEAMS. 

The  parts  of  the  waist  in  a  dress  of  this  character  should  be 
joined  with  very  tiny  French  seams.  As  the  skirts  are  usually 
gathered,  or  pleated,  they  also  should  be  joined  with  tiny  French 
seams. 

TO  SET  IN  LACE  INSERTION. 

Lace  insertion  in  a  waist  similar  to  the  one  in  the  lesson  should 
be  set  in  before  the  seams  are  joined.  To  do  this,  baste  the  lace 
insertion  on  the  waist  in  the  desired  position,  mitering  the  corners 
where  necessary.  Stitch  it  on  both  edges.  Cut  out  the  material 
under  the  insertion  leaving  about  *4"  of  the  cloth  extending  under 
the  insertion;  fold  this  back  and  stitch  it  in  place,  or  after  it  is  folded 
back,  sew  it  into  a  tiny  roll  with  tightly  drawn  overcasting  stitches. 
Buttonhole  the  mitered  corners. 

Handmade  lace  should  be  sewed  in  place  by  hand  with  fine 
running  stitches  and  the  under  side  finished  as  suggested  above. 

TUCKS. 

The  tucks  used  on  a  dress  of  this  character  should  be  very  dainty ; 
they  are  usually  called  pin  tucks;  the  finer  they  are  made  the  prettier 
the  appearance.  They  may  be  made  with  the  tucker  on  the  sewing 
machine.  Before  trying  to  use  the  tucker,  study  the  directions  given 


275 

in  the  book  which  accompanies  the  sewing  machine  and  practice 
making  the  tucks  on  a  small  piece  of  cloth. 

Tucks  which  end  in  the  body  of  the  material  will  have  loose  ends 
of  thread.  These  threads  should  be  drawn  through  to  the  wrong  side 
and  tied  in  a  hard  knot;  the  extra  thread  may  be  cut  off. 

Tucks  in  the  cuff  or  sleeve  are  usually  made  before  joining  tne 
seams.  Care  should  be  taken  to  have  them  evenly  spaced  and  even 
in  width  where  they  are  to  be  joined.  The  tucks  in  the  ruffle  of  the 
skirt  are  usually  put  in  after  the  ruffle  is  joined. 

Tucks  are  sometimes  made  by  hand  with  fine  running  stitches. 
They  look  attractive,  but  it  requires  a  long  time  to  make  them. 

FITTING  THE  DRESS. 

After  the  seams  are  basted,  the  garment  should  be  tried  on  and 
fitted  according  to  directions  in  Chap.  IV. 

SLEEVES. 

Set-in  sleeves  may  be  sewed  into  the  armhole  with  plain  over- 
cast or  French  seams.  Machine  hemstitching  is  a  very  dainty  way 
to  set  them  in;  seam  beading  gives  much  the  same  appearance  as  the 
hemstitching.  Set  it  in  with  tiny  French  seams,  or  plain  overcast 
seams. 

JOINING  THE  WAIST  AND  SKIRT. 

As  this  style  of  dress  is  usually  finished  at  the  waist  line  with  a 
girdle  of  ribbon  or  silk,  it  may  be  joined  in  the  following  manner: 
Fit  the  belting  to  the  waist,  turn  back  and  stitch  the  ends  and  sew  on 
as  many  hooks  and  eyes  as  necessary  to  keep  it  from  gaping  (use 
the  round  eyes  and  let  the  eyes  extend  over  the  end  of  the  belt,  as 
directed  in  Chap.  II,  Par.  133.)  Hook  the  belt  around  the  waist,  put 
on  the  waist,  adjust  the  gathers  at  the  waist  line,  and  pin  it  to  the 
top  of  the  belting.  Put  on  the  skirt  and  pin  the  top  of  it  to  the  lower 
edge  of  the  belting.  Remove  the  dress,  baste  and  stitch  the  waist  and 
skirt  to  the  belting;  cover  the  raw  edges  by  hemming  a  strip  of 
material  over  them. 

NOTE:  When  the  skirt  and  the  waist  do  not  open  at  the  same 
place,  have  the  belt  open  with  the  one  most  convenient.  If  part  of 
the  waist,  or  part  of  the  skirt  cannot  be  fastened  to  the  belting,  it 
should  be  faced  or  finished  with  a  separate  band,  and  held  in  its 
proper  place  with  hooks  and  eyes,  or  snaps. 

The  girdle  may  be  made  separate,  or  may  be  fastened  to  the 
dress.  If  it  is  fastened  to  the  dress  it  is  not  necessary  to  cover  the 
raw  edges  of  the  waist  and  skirt  on  the  belting  with  the  strip  of 


276 

material  suggested  above.  If  the  dress  is  to  be  finished  without  a 
girdle,  hook  the  belting  around  the  waist,  adjust  the  fullness  at  the 
waist  line  and  pin  it  to  the  top  of  the  belting;  cut  oft"  the  extra 
material.  Pin  the  skirt  to  the  bottom  of  the  belting  in  a  few  places, 
turn  in  the  top  edge,  place  it  over  the  gathers  in  the  waist  and  pin 
it  in  place  with  the  edge  a  triile  above  the  top  edge  of  the  belting. 
Remove  the  dress,  baste  and  stitch  in  place. 

BOTTOM  OF  THE  SKIRT. 

When  the  bottom  of  the  skirt  is  to  be  finished  with  a  ruffle,  even 
the  skirt  around  the  bottom  the  distance  from  the  floor  necessary  to 
make  it  the  right  length  w7hen  the  ruffle  is  sewed  on.  If  more  than 
one  ruffle  is  to  be  placed  on  the  skirt,  sew  on  the  bottom  ruffle  with 
a  felled  seam;  lay  the  skirt  on  an  ironing  board  or  table  and  pin  the 
second  ruffle  so  the  bottom  edge  w7ill  overlap  the  top  and  will  be  par- 
allel with  the  bottom  of  the  first  ruffle.  Continue  in  this  manner  until 
all  the  ruffles  are  sewed  on.  If  the  top  of  the  upper  ruffle  is  not 
concealed  at  the  waist  line,  the  raw  edges  should  be  turned  in  and 
the  edge  finished  writh  a  small  heading,  which  may  be  used  as  a 
finish  for  the  top  of  the  ruffle  when  it  is  sewed  on  the  skirt. 

The  lace  on  the  edge  of  the  ruffles  should  be  sewed  on  by  hand, 
but  it  may  be  stitched  flat  on  the  edge  with  the  machine.  The  lace 
trimming  on  the  waist  should  be  sewed  on  by  hand. 

FASTENINGS. 

A  lingerie  dress  may  be  fastened  together  with  tiny  buttons  and 
buttonholes,  or  small  snaps  with  hooks  and  eyes  at  the  belt. 

THE  GIRDLE. 

As  each  season  brings  its  new  fads  for  girdles  and  sashes,  no 
attempt  is  made  here  to  give  directions  for  making  a  girdle.  Patterns 
may  be  obtained  with  directions  for  making.  One  girdle  or  sash 
may  be  used  for  several  dresses. 


277 


GYMNASIUM 
SUIT 

MATERIALS. 

Serge  (Chap.  I,  Par.  62)  or 
Flannel   (Chap.  I,   Par.  59) 

or 
Sateen  (Chap.  I,  Par.  32). 

Amount  of  material  called 
for  in  commercial  pattern. 
Thread  to  match  material. 
Fastenings. 


INTRODUCTORY  STATEMENT. 

In  order  to  get  the  full  benefit  of  the  physical  training  given  in 
the  gymnasium,  it  is  necessary  to  be  dressed  so  that  every  part  of 
the  body  may  have  perfect  ease  and  freedom  of  motion.  The  gym- 
nasium suit  of  some  sort,  with  its  short  skirt  or  bloomers,  is  de- 
signed to  fill  this  need. 

Bloomers  are  often  worn  with  a  cotton  middy,  but  a  suit  made 
in  one  piece  is  very  desirable. 

Woolen  material  is  generally  used  for  gymnasium  suits,  although 
sateen,  silk  and  brilliantine  are  also  satisfactory.  The  woolen  ma- 
terial is  particularly  desirable  because  it  is  a  poor  conductor  of 
heat  and  for  this  reason  one  is  less  likely  to  take  cold  after  violent 
exercise  because  it  does  not  allow  the  body  to  cool  too  rapidly. 

The  gymnasium  suit  shown  in  this  lesson  consists  of  a  waist 
and  bloomers  joined  at  the  waist  line  with  a  band,  thus  forming  one 
continuous  garment. 


References: 

Hygiene  of  Clothing,  The  Care  of  the  Body,  Cavanagh. 
Personal   Hygiene,   Pyle. 


278 
WORKING  DIRECTIONS  FOR  GYMNASIUM  SUIT 

THE  PATTERN. 

If  desired,  a  commercial  pattern  may  be  used  to  make  a  gym- 
nasium suit.  A  middy  blouse  may  be  substituted  for  the  waist  which 
is  joined  to  the  bloomers.  If  this  is  done,  the  bloomers  should  be 
joined  to  a  band. 

With  careful  planning  on  your  part,  the  waist  of  the  gymnasium 
suit  shown  in  the  illustration  may  be  cut  from  a  plain  shirt  waist 
pattern;  the  bloomers  may  be  cut  from  a  drawer  pattern  by  allowing 
extra  length  and  fullness.  The  back  of  the  waist  may  be  cut  like 
the  shirt  waist  pattern,  with  a  square  neck;  the  front,  you  will  notice, 
has  a  square  neck  and  is  opened  by  unbuttoning  the  gathered  piece 
which  is  fastened  in  a  band  and  buttoned  to  the  side  fronts  of  the 
waist.  To  cut  the  front  from  a  waist  pattern,  cut  the  neck  square 
and  add  about  3"  to  the  front  of  the  pattern  for  fullness;  the  sleeves 
are  cut  short  and  made  full  at  the  top. 

CUTTING  OUT  THE  SUIT. 

If  a  commercial  pattern  is  used,  study  carefully  the  guide  chart 
and  directions  which  accompany  it.  Cut  out  your  suit  according  to 
the  directions. 

If  you  wish  to  make  a  suit  like  the  one  shown  in  the  illustration, 
by  using  a  shirt  waist  pattern,  cut  the  back  piece  with  the  center  back 
of  the  pattern  on  the  fold  and  the  front  piece  the  same  allowing  the 
folded  edge  to  extend  about  3"  beyond  the  front  edge  of  the  pattern. 

To  make  the  flap  which  is  gathered  into  the  band  in  the  front  of 
the  wraist,  cut  down  from  the  neck  on  each  side  of  the  waist  to 
within  about  2"  of  the  waist  line.  If  the  drawer  pattern  is  used  for 
the  bloomers,  lay  pleats  in  the  material  the  length  desired  for  the 
bloomers  and  cut  them  out;  allow  several  inches  on  the  folded  edge 
of  each  leg  for  gathered  fullness,  making  them  enough  longer  than 
the  pattern  to  allow  them  to  come  well  below  the  knees. 

THE  SEAMS. 

As  a  suit  of  this  sort  is  subjected  to  considerable  strain,  it 
should  be  joined  with  strong  seams.  The  French  seams,  or  felled 
seams,  are  suitable  for  this  purpose. 

FITTING. 

After  the  seams  are  basted,  try  on  the  garment  and  fit  it  very 
loosely.  As  it  is  very  essential  for  the  body  to  move  freely  in  every 


279 

direction  in  athletic  work,  the  garment  worn  in  a  gymnasium  should 
he  very  easy  fitting  in  every  part.  After  the  garment  is  fitted,  re- 
move it  and  finish  the  seams. 

FINISHING  THE  NECK  AND  FRONT. 

If  you  wish  to  finish  the  neck  in  your  gymnasium  suit  like  the 
one  shown  in  the  illustration,  cut  a  piece  of  material  about  IW 
wide  to  fit  the  neck  and  extend  down  the  front  of  the  waist.  Finish 
the  raw  edge  around  this  strip  with  a  bound  placket  on  each  side 
(Chap.  II,  Par.  161).  Cut  a  band  about  2V2"  wide,  and  long  enough 
(plus  seams)  to  fit  across  the  opening  at  the  neck;  turn  in  the  ends, 
gather  the  material  on  the  loose  front  piece  into  this  band,  baste  and 
stitch  the  gathers  in  place  in  the  band  (Chap.  II,  Par.  142). 

THE  SLEEVES. 

Make  a  band  4"  wide  for  each  sleeve.  Join  the  ends  of  each 
band  with  plain  seams.  Join  the  sleeves  with  French  seams  and 
gather  the  bottom  of  each  sleeve  into  the  band  (Chap.  II,  Par.  142); 
when  the  band  is  completed  it  should  be  double. 

The  sleeves  shown  in  the  illustration  are  gathered  at  the  top. 
The  following  is  a  good  method  to  use  when  setting  in  this  style  of 
sleeve:  Fold  the  armholes  of  the  waist  so  the  under-arm  seam  and 
the  shoulder  seam  lie  together.  Crease  the  fold  formed  on  the  front 
and  back  of  the  waist.  Place  the  seam  of  the  sleeve  about  21/4"  to 
2l/2"  in  front  of  the  under-arm  seam.  Pin  the  lower  edge  of  the 
under  part  of  the  sleeve  to  the  armhole  from  the  crease  in  the  front 
of  the  armhole  to  the  crease  in  the  back.  Gather  the  remainder  of 
the  sleeve  and  adjust  it  to  the  upper  part  of  the  armhole,  allowing 
the  greatest  fullness  to  come  at  the  top  of  the  shoulder.  Baste  and 
stitch  in  place.  Overcast  or  bind  the  seams  on  the  wrong  side. 

If  you  make  plain  sleeves,  they  may  be  set  in  with  lapped  seams. 

THE  BLOOMERS. 

The  bloomers  should  be  gathered  or  pleated  at  the  top  to  fit  a 
band  which  is  to  join  the  garments  at  the  waist  line  (this  band  should 
be  loose).  Finish  the  bottom  of  the  bloomers  with  a  1/£"  hem;  gather 
in  the  fullness  in  each  leg  with  an  elastic  band  tight  enough  to  keep 
the  leg  from  slipping. 

JOINING  THE  WAIST  AND  BLOOMERS. 

Join  the  waist  and  bloomers  in  the  following  manner:  Cut  two 
strips  each  2l/2ff  wide  and  as  long  as  a  loose  waist  measure;  put  on 


280 

the  waist  which  should  be  gathered  at  the  waist  line;  adjust  the 
gathers  in  the  waist;  trim  off  extra  material  below  waist  and  put  on 
the  bloomers.  With  both  edges  of  the  band  turned  under,  pin  the  lower 
edge  to  the  bloomers  and  the  upper  edge  to  the  waist.  Remove  the  suit, 
cut  away  the  extra  material  under  the  band,  allowing  the  bottom  of 
the  waist  to  extend  about  %"  below  the  top  edge  of  the  band;  baste 
in  place;  line  the  band  on  the  wrong  side  by  pinning  and  basting  a 
strip  the  same  width  as  the  band  over  the  raw  edge;  stitch  it  in  place. 
After  the  suit  is  joined  at  the  waist  line  an  extra  strip  the  same 
width  as  the  band  and  9"  long,  may  be  cut  double.  The  edges  of  this 
should  be  turned  in  and  it  may  be  stitched  to  the  front  of  the  band 
(as  in  the  illustration)  for  trimming.  A  button  is  placed  at  each  end. 

FASTENINGS. 

The  gymnasium  suit  in  this  lesson  is  fastened  with  buttons  and 
buttonholes  and  snaps. 

POCKET. 

The  pocket  is  sewed  to  the  front  of  the  waist  on  the  left-hand 
side.  Two  rows  of  parallel  stitching  serve  as  trimming  and  also  hold 
it  firmly  in  place. 


281 


COAT 

MATERIALS. 
Wool   (Chap.  I,  Par.  50). 

Amount  of  novelty  coat 
cloth  called  for  in  the 
commercial  pattern. 

Binding  ribbon. 

Silk  thread  to  match  ma- 
terial. 

Buttons   (large). 


INTRODUCTORY  STATEMENT. 

In  summer  or  winter  some  kind  of  outside  wrap  is  necessary. 
A  suit  coat,  as  a  rule,  does  not  look  well  with  a  dress  of  different 
color  or  material,  so  the  separate  coat  is  almost  a  necessity.  As  it 
is  worn  over  a  dress  it  is  made  comparatively  loose.  The  materials 
and  styles  used  in  making  the  coat  seem  better  suited  to  the  ability 
of  the  inexperienced  seamstress  than  those  used  for  a  suit.  For  this 
reason  a  girl  who  might  find  a  coat  suit  too  great  an  undertaking 
may  be  ^ble  to  make  a  very  attractive  looking  coat. 

In  making  the  coat  a  very  simple  style  should  be  selected.  The 
rough  finished  or  wooly  materials  which  are  heavy  enough  so  as 
not  to  require  a  lining  will  be  found  most  satisfactory  for  this  coat. 

The  coat  in  this  lesson  is  an  easy  coat  model  for  a  girl  to  make, 
but  any  similar  model  can  be  made  as  satisfactorily,  if  sufficient  care 
is  taken  with  every  step. 


References: 

The  American  System  of  Dressmaking,  Kansas  Citj7,  Mo. 
Practical  Dressmaking.     Macmillan   Co. 


282 

WORKING  DIRECTIONS  FOR  COAT 

THE  PATTERN. 

Tailoring  is  considered  one  of  the  most  difficult  branches  ot" 
garment  making.  Light  weight  materials  which  require  interlinings, 
padding,  and  linings  call  for  skill  which  the  young  seamstress,  as  a 
rule,  has  not  acquired.  For  this  reason,  in  making  an  outside  gar- 
ment you  should  select  material  which  will  not  require  lining.  A 
loose  fitting,  unlined  coat  may  be  made  very  satisfactorily.  Use  a 
commercial  pattern,  but  be  careful  to  select  a  simple  style. 

CUTTING  OUT  THE  GARMENT. 

Study  the  guide  chart  and  directions  accompanying  the  pattern 
and  follow  the  directions  in  cutting  out  the  coat.  Notice  wrhether 
the  nap  of  the  goods  lies  in  one  direction;  if  it  does,  be  careful  to 
have  the  nap  running  down  on  all  the  parts  of  the  coat.  Great  care 
will  be  necessary  in  cutting  out  this  garment  as  it  is  rather  difficult 
to  cut  straight  even  edges  on  heavy  material. 

SEAMS. 

If  the  material  does  not  show  a  tendency  to  ravel,  the  coat  may 
be  finished  with  felled  seams  finished  on  the  right  side  without 
turning  in  the  raw  edges  of  the  material.  If  the  material  ravels,  turn 
the  seams  toward  the  wrong  side  and  bind  the  raw  edges  with  binding 
ribbon;  then  stitch  them  in  place  (the  seams  should  be  about  %" 
wide.) 

To  bind  the  seams.  Fold  the  binding  ribbon  so  one  edge  extends 
a  little  beyond  the  other.  Crease  it  with  a  warm  iron.  Lay  the  wider 
part  of  the  binding  ribbon  on  the  under  side  of  the  seam  and  with 
the  crease  lying  over  the  edge  of  the  seam,  sew  through  the  two 
edges  of  the  binding  ribbon  at  the  same  time,  with  running  stitches. 

FITTING  THE  COAT. 

Baste  the  body  of  the  coat  together  at  the  shoulders  and  under 
arms,  then  baste  in  one  sleeve.  Try  on  the  coat  and  fit  it  according 
to  general  directions  for  fitting  a  waist  (Chap.  IV).  Remember  that 
a  coat  is  an  outside  garment  and  should  be  fitted  over  the  dress,  or 
waist,  and  should  be  made  very  loose.  If  the  sleeve  is  not  set  in 
so  the  top  part  hangs  straight  from  the  shoulder  to  the  back  of  the 
hand,  readjust  it  so  it  will. 


283 

THE  COLLAR  AND  FRONT  FACING. 

The  collar  is  one  of  the  most  difficult  parts  to  make  successfully. 
Baste  the  under  side  of  the  collar  to  the  neck  of  the  coat,  being 
careful  not  to  stretch  it.  This  coat,  like  most  other  unlined  coats, 
is  finished  with  a  facing  on  the  front  edges.  This  must  he  joined 
to  the  collar.  To  do  this,  lay  the  right  side  of  the  facing  on  the 
right  side  of  the  coat;  baste  it  on  the  bottom  edge  and  front  of  the 
coat  and  to  the  edge  of  the  upper  side  of  the  collar  then  stitch  it  as 
basted.  Turn  the  facing  and  the  collar  to  the  wrong  side;  baste  it 
along  the  edge,  being  very  careful  to  make  a  straight  seam  down 
the  front;  baste  it  in  place  along  the  center  and  the  outside  edge  (the 
raw  edge  should  be  bound  with  binding  ribbon,  as  suggested  for  the 
under-arm  seams).  The  raw7  edges  of  the  collar  should  be  turned  in 
and  hemmed  in  place.  Sew  the  facing  to  the  coat  with  long  hemming 
stitches,  invisible  on  both  sides  of  the  coat. 

THE  SLEEVES. 

The  sleeves  should  be  joined  the  same  as  the  under-arm  seam; 
the  sleeves  may  be  sewed  into  the  armhole  with  the  same  kind  of 
seam  used  on  the  shoulder  and  under  the  arm.  After  they  are  set  in, 
bind  the  raw7  edges  at  the  bottom  and  turn  back  a  hem  to  the  wrong 
side.  Stitch  the  hem  W  from  the  bottom  of  the  sleeve. 

THE  BOTTOM  OF  THE  COAT. 

The  bottom  of  the  coat  should  be  finished  with  a  hem  about  ^" 
wide,  stitched  in  place.  This  stitching  should  be  continued  around 
the  edges  of  the  front  of  the  coat  and  collar. 

THE   POCKET. 

A  pocket  may  be  stitched  on  the  left  side  of  the  coat,  or  if  desired, 
a  pocket  may  be  provided  on  each  side.  It  should  be  made  the 
same  size  as  directed  in  your  pattern.  The  pockets  in  the  coat  shown 
in  this  lesson  were  stitched  close  to  the  edge;  these  edges  were  left 
unfinished.  A  second  row  of  stitching  y2"  inside  of  the  first  row  was 
added  to  correspond  with  the  stitching  on  the  collar  and  the  front 
of  the  coat. 

FASTENINGS. 

The  buttonholes  in  a  coat  of  this  kind  are  difficult  to  make. 
They  should  be  worked  writh  buttonhole  twist.  You  should  not  try 


284 


to  make  the  buttonholes  in  your  coat  until  you  have  succeeded  in 
working  two  or  three  excellent  ones  in  a  scrap  piece  of  your  ma- 
terial (doubled).  If  desired,  you  may  have  a  tailor  make  the  button- 
holes. Sew  on  buttons  to  correspond  with  the  buttonholes;  be  very 
careful  to  have  them  exactly  even  with  the  buttonholes  so  the  ma- 
terial will  not  wrinkle  between  them. 


285 

REVIEW  QUESTIONS  AND  PROBLEMS. 

1.  Do  you  consider  the  study  of  dress  an  important  subject? 
Why? 

2.  What  is  meant  by  a  garment  being  in  style?     How  much 
attention  do  you  think  should  be  given  to  style  when  planning  your 
clothes? 

3.  What  is  the  purpose  of  trimming  on  a  garment? 

4.  What  do  you  understand  by  a  certain  idea  or  design  of  dress 
being  appropriate? 

5.  What  sort  of  trimming  would  be  appropriate  for  a  middy 
blouse?    For  a  lingerie  dress? 

6.  Why  are  commercial  patterns   considered  more  practicable 
than  drafted  ones  for  ordinary  home  sewing? 

7.  What  measurements  should  be  taken  before  undertaking  to 
draft  a  waist  pattern? 

8.  What  do  you  understand  by  a  "foundation"  waist  pattern? 
Why  is  it  worth  while  for  every  girl  to  become  familiar  with  the 
method  of  making  such  a  pattern? 

10.  What  points  must  be  carefully  considered  in  altering  any 
pattern?    Explain. 

11.  The  ability  to  alter  and  adapt  patterns  to  individual  needs 
is  the  real  test  of  ones  understanding  of  the  principles  of  pattern 
making.     Discuss  this  statement. 

12.  What  determines  the  width  at  the  bottom,  the  number  of 
gores  and  the  style  of  trimming  of  a  skirt? 

13.  Name  and  describe  three  or  four  kinds  of  material  suitable 
for  house  dresses. 

14.  Describe  the  points  of  a  properly  designed  and  well  made 
school  dress. 

15.  What  things  must  be  considered  in  making  a  wool  dress,  that 
would  not  occur  in  making  a  house  dress? 

16.  Design  a  silk  dress.     Draw  a  sketch  showing  how  it  will 
appear  when  completed. 

17.  For  what  occasions  is  the  lingerie  dress  appropriate? 

18.  What  points  should  be  considered  in  designing  and  making 
a  gymnasium  suit? 

19.  What  kind  of  materials  are  suitable  for  a  coat? 

20.  Write  a  review  of  three  or  four  hundred  words  explaining 
just  how  you  can  apply  at  home  the  things  learned  in  your  school 
sewing  work. 


286 

SUGGESTIONS    FOR   HOME   APPLICATION. 

After  having  completed  the  work  in  Section  V  of  this  book  you  should 
be  able  to  do  a  large  part  of  your  plain  sewing.  With  the  work  given 
in  dressmaking  in  Section  VI  you  should  be  in  a  position  to  make 
even  your  more  elaborate  gowns.  When  you  are  capable  of  making 
such  garments  it  is  very  important  that  you  should  also  be  able  to  use 
good  judgment  in  selecting  appropriate  materials  and  styles  for  them. 
A  few  suggestions  are  offered  to  aid  you  in  applying  to  the  problems 
of  dress  at  home  the  things  which  you  have  learned  in  your  school 
sewing. 

THE  CLOTHING  BUDGET. 

One  of  the  first  problems  to  consider  in  planning  ones  wardrobe 
is  the  amount  of  money  that  can  be  spent  on  it.  Whether  you  have  a 
liberal  allowance,  or  whether  you  must  practice  strict  economy,  you  will 
be  able  to  spend  your  money  much  more  profitably  if  you  use  thought 
and  care  in  planning  your  clothes  for  each  season.  A  very  excellent  plan 
to  follow  is  the  keeping  of  an  accurate  account  of  the  expense  of  your 
clothing.  This  will  enable  you  to  know  just  the  amount  you  are 
spending  for  your  clothes  and  will  enable  you  to  see  whether  you 
are  spending  money  without  getting  the  best  returns  for  it.  As  some 
garments  can  be  made  over,  or  made  to  do  service  for  two  or  three 
years,  you  should  keep  an  itemized  account  of  your  expenses  for 
clothing  for  three  years  and  take  the  average  expenses  for  the  three 
years  as  the  average  cost  for  each  year's  clothing.  In  this  manner 
you  will  be  able  to  see  whether  too  large  a  proportion  of  the  money 
spent  is  being  used  for  articles  like  fancy  neckwear  or  other  fads 
and  luxuries  of  dress;  you  may  wish  to  reduce  the  number  of  some 
of  these  items  so  that  you  may  have  more  money  to  spend  for  your 
street  clothes,  or  other  garments  which  will  give  you  a  better  appear- 
ance with  the  same  expenditure  of  money. 

SOME  ECONOMIES  IN  DRESS. 

One  very  good  way  of  economizing  on  the  cost  of  dress  and  still 
presenting  a  good  appearance  is  to  select  a  becoming  color  and  use 
that  as  the  keynote  of  your  dresses,  suits  and  hats  from  year  to  year. 
By  using  this  method  very  often  a  well  preserved  hat  left  from  the 
previous  season  may  be  retrimmed  at  small  expense  and  used  with 
the  new  suit  or  dress;  left-over  blouses  may  also  be  worn  with  the 
new  suit  instead  of  being  discarded  because  they  do  not  match  in 
color.  Where  strict  economy  must  be  observed  in  planning  the  ward- 


287 

robe,  one  well  made  dress  of  good  material  may  be  made  to  serve  for 
different  occasions  by  using  different  styles  of  neckwear.  It  is  said 
of  a  very  prominent  English  woman  that  she  used  one  black  dress  to 
do  service  on  all  occasions  through  an  entire  social  season  in  London, 
simply  changing  the  neckwear  on  different  occasions. 

Unless  you  have  an  unlimited  income,  extremes  of  fashion  should 
be  avoided^  as  they  necessitate  an  endless  renewing  of  the  wardrobe. 
This  makes  it  necessary  to  buy  cheaper  materials,  which  soon  show 
their  shoddiness.  Clothing  which  is  more  conservative  in  style  and 
made  of  better  fabrics  will  attract  less  attention  to  itself,  and  will 
thus  allow  the  personality  of  the  wearer  to  predominate.  A  girl's 
clothes  should  emphasize  her  personality  instead  of  crowding  it  into 
insignificance. 

If  you  have  the  time  to  make  your  own  clothes,  this  will  be  a 
very  important  item  in  economy,  as  this  makes  it  possible  not  only 
to  save  the  dressmakers'  bills,  but  to  make  over  garments  from  a 
previous  season.  If  you  do  not  have  time  to  do  this,  many  articles 
may  be  purchased  ready  made.  Although  the  materials  used  in  ready 
made  garments  are  often  inferior  to  those  used  in  making  garments 
at  home,  yet  many  ready  made  garments,  which  give  very  good  satis- 
faction, may  be  purchased. 

A  great  deal  of  valuable  time  and  money  is  often  wasted  in  pur- 
poseless shopping.  It  is  a  wise  plan  to  know  what  you  want  to  pur- 
chase, about  what  you  can  afford  to  pay,  the  quantity  needed  and  the 
purpose  for  which  the  material  is  to  be  utilized. 

At  between  seasons  sales  considerable  money  may  be  saved  if 
purchases  are  made  thoughtfully.  It  is  poor  economy,  however,  to 
buy  articles  simply  because  they  are  good  value,  or  because  you  hope 
to  use  them  at  some  future  time. 


SIMPLICITY  OF  DRESS. 

The  keynote  of  a  young  girl's  dress  should  be  simplicity,  as  the 
charm  and  freshness  of  youth  does  not  need  elaborate  clothes  to  en- 
hance it.  Any  kind  of  clothing  which  takes  away  from  a  girl's  youth- 
ful appearance  also  takes  away  some  of  her  attractiveness  and  shows 
lack  of  good  taste.  Some  things  that  a  girl  in  school  should  avoid 
are  extremely  low  cut  necks  in  dresses  or  waists,  silk  stockings  and 
low  shoes  in  cold  weather,  too  striking  combinations  of  color,  huge 
hair  ribbons,  or  fancy  shirt  waists. 


288 

APPROPRIATENESS. 

A  dress  that  would  be  very  pretty  at  a  party  would  look  out  of 
place  in  the  school  room  because  of  its  inappropriateness.  Proper 
clothes  should  be  worn  on  the  proper  occasion.  Lace  trimmed  gowns 
made  of  perishable  material  are  not  suitable  for  school  wear.  Fabrics 
which  will  wear  well  and  launder  nicely  should  be  selected  for  wash 
dresses  and  waists  for  school  wear;  serviceable  materials,  like  serge 
or  panama  should  be  selected  for  woolen  dresses. 

It  is  not  sufficient  to  use  good  taste  in  selection  of  materials  and 
in  the  styles  of  making  them  up,  but  care  should  be  taken  to  keep  the 
clothes  in  good  repair  and  to  see  that  collars  and  cuffs  are  kept  clean. 
In  other  wrords,  if  you  would  be  refined  you  must  show  by  careful 
attention  to  the  small  details  of  your  dress  that  you  are  perfectly  and 
always  a  lady. 


2811 


SUPPLEMENT 


290 
CHAPTER  I 

TEXTILES 

To  get  a  perfectly  clear  understanding  of  the  various  textiles 
it  would  be  necessary  to  study  the  history  of  race  development,  in 
order  to  become  acquainted  with  the  different  kinds  of  materials 
which  have  been  used  for  clothing  from  the  early  savage  periods  to 
the  modern  day.  Mankind  has  always  relied  upon  the  animal  and 
vegetable  kingdom  for  his  existence;  this  is  particularly  true  in  the 
matter  of  food  and  clothing. 

Before  the  days  of  civilization,  savages  clothed  themselves  with 
the  untanned  hides  of  animals  decorated  with  shells,  stones  and 
beads.  These  hides  of  animals  were  very  satisfactory  protection 
against  the  elements,  and  were  sufficiently  beautiful  to  meet  every 
requirement  of  savage  taste.  With  the  improvement  of  the  race  a 
desire  for  more  artistic  clothing  arose,  and  mankind  continued  to 
look  to  his  surroundings  to  supply  the  needed  materials. 

It  would  be  impossible  to  trace  the  various  stages  of  develop- 
ment which  led  up  to  the  intricate  system  of  manufacturing  now 
employed  in  producing  wearing  apparel,  but  as  man  began  to  acquire 
some  ingenuity  and  skill,  he  devised  methods  of  making  crude  cloth- 
ing from  different  fibers.  These  arts  have  been  improved  from  time 
to  time,  and  while  a  few  new  sources  have  been  employed  in  the 
production  of  textiles,  yet,  for  the  most  part,  our  clothing  still  comes 
either  from  the  animal  or  the  vegetable  kingdom. 

The  art  of  spinning  dates  back  to  the  very  earliest  periods  oi 
history,  in  fact,  a  legend  among  ancient  people  traces  this  important 
art  to  the  Goddesses  themselves.  When  the  art  was  first  practiced 
by  man  he  turned  to  the  plant  kingdom  for  fibers  that  would  be  suit- 
able to  spin  into  yarn.  He  also  employed  fibers  from  the  animal 
kingdom  for  a  like  purpose,  but  the  spun  thread  did  not  meet  all  of 
his  clothing  requirements,  so  necessity  lead  the  way  for  the  introduc- 
tion of  weaving.  This  art  was  also  begun  at  a  very  early  period,  and 
so  successfully  have  these  twin  arts  developed,  hand  in  hand,  that 
they  have  formed  the  basis  of  modern  textile  manufacturing. 


291 

THE  VEGETABLE  FIBERS 

COTTON 

Paragraph  1.  Very  important,  textile  fibers  come  from  the  veget- 
able kingdom;  while  there  are  several  that  contribute  slightly,  cotton 
and  flax  are  the  only  ones  worthy  of  consideration  from  a  practical 
standpoint.  Cotton  is  by  far  the  most  important  fiber  from  which 
clothing  is  made.  Just  how  long  cotton  has  been  used  in  the  produc- 
tion of  clothing  is  not  exactly  known,  although  history  records  the 
use  of  cotton  clothing  as  early  as  445  B.  C.  The  invention  of  the 
cotton  gin  and  other  modern  machines  has  made  possiblt  a  very 
wonderful  development  of  the  cotton  industry. 

In  order  that  any  fiber  may  be  woven  into  serviceable  textiles 
that  fiber  must  be  possessed  of  sufficient  strength  to  be  spun,  and  it 
must  have  a  physical  structure  which  will  permit  a  number  of  fibers, 
when  spun,  to  cling  so  securely  as  to  produce  a  continuous  thread  of 
considerable  tensile  strength.  Aii  the  varieties  of  cotton  have  these 
requirements. 

Cotton  fibers  consist  of  seed  hairs;  the  cotton  plant  reaches  ma- 
turity varying  from  three  to  six  feet  in  height  and  produces  a  cotton 
boll  which  contains  the  seeds.  This  seed  boll  splits  open  and  presents 
a  white  mass  of  seed  hairs,  each  being  attached  at  one  end  to  a  tiny 
seed.  The  seed  is  picked  and  run  through  a  cotton  gin  for  the  purpose 
of  separating  the  seed  hairs  from  the  seed.  The  seed  is  preserved  for 
the  oil  which  it  possesses,  while  the  fiber  is  taken  through  the  various 
processes  of  producing  cloth. 

When  the  cotton  fiber  is  dried  it  is  perfectly  smooth  and  each 
tiny  fiber  is  ribbon  shaped,  but  as  it  dries  it  twists  in  an  irregular 
spiral  or  screw-like  band,  having  from  three  to  five  hundred  twists 
per  inch.  It  is  this  peculiar  twist  that  makes  the  cotton  fiber  valuable 
for  textiles,  for  this  is  the  property  which  makes  it  possible  for 
cotton  fibers  to  be  woven  into  a  strong  thread.  The  other  spinning 
qualities  of  cotton  depend  upon  the  length  as  well  as  the  fineness  of 
the  fiber.  Cotton  produces  a  very  strong  thread  but  not  as  strong  as 
silk,  or  even  linen,  although  it  has  greater  strength  than  the  same 
sized  thread  made  of  wool. 

Cotton  is  used  more  than  any  other  material  because  of  its  cheap- 
ness, and  because  it  is  so  serviceable  for  a  great  number  of  practical 
purposes.  It  will  stand  rather  high  temperature,  and  is  not  harmed 
by  strong  alkali,  soap  and  other  cleaning  materials;  it  can  be  bleached, 
scrubbed  and  cleaned  in  various  ways  without  suffering  damage.  It 
wears  well  under  hard  use,  and  looks  neat  and  clean  when  laundered. 


292 

Cotton  takes  dye  readily,  thus  making  it  possible  to  produce 
pleasing  color  effects  in  various  kinds  of  cotton  cloth.  It  does  not 
retain  its  color,  however,  as  well  as  wool. 

In  order  to  add  to  the  appearance  of  cotton  it  is  sometimes  mer- 
cerized to  produce  a  glossy  silk-like  finish.  There  are  a  number  of 
ways  in  which  this  mercerizing  process  is  carried  out;  the  cloth  is 
usually  treated  with  a  strong  caustic  alkali  and  then  .carefully  dried, 
stretched  and  pressed. 

The  following  kinds  of  cotton  cloth  are  in  most  common  use. 

BATISTE. 

Paragraph  2.  Batiste  is  a  very  light  cotton  fabric,  woven  of  fine 
threads.  It  varies  considerably  in  quality.  There  are  some  coarser 
forms  that  are  used  for  linings  while  the  finer  forms  are  found  in 
shirt  waist  and  dress  goods.  It  is  made  principally  in  white  though 
sometimes  in  a  few  colors.  Most  common  width  32"  t®  45".  Price 
per  yard  from  15c  up. 

BUCKRAM. 

Paragraph  3.  Buckram  is  a  very  cheap  cotton  fabric  not  used 
much  in  the  manufacture  of  clothing  except  for  interlinings  where 
some  stiffness  is  required.  It  is  very  coarsely  woven,  usually  in 
plain  colors.  Most  common  width  36".  Usual  price  per  yard,  lOc  up. 

BURLAP. 

Paragraph  4.  Burlap  is  a  very  coarse  cloth  made  of  hemp  or  jute, 
though  some  of  the  finer  varieties  are  made  of  cotton.  The  coarser 
kinds  are  used  for  wrappings,  under  portions  of  upholstery,  or  where 
great  strength  is  required.  The  finer  weaves  are  used  for  wall  cover- 
ings, curtains  and  draperies.  Most  common  width,  42"  to  57",  Usual 
price  per  yard,  35c  to  $1.00. 

CALICO. 

Paragraph  5.  Calico  is  the  most  common  of  all  the  cotton  fabrics. 
It  was  originally  made  in  Calcutta,  India,  from  which  the  name  calico 
is  derived.  It  is  first  woven  plain,  after  which  a  color  or  print  is 
stamped  on  one  surface.  This  explains  why  the  figure  in  calico  is 
not  found  on  both  sides.  It  is  used  for  house  dresses  and  other  gar- 
ments which  call  for  inexpensive  material.  Most  common  width,  24" 
to  36".  Usual  price  per  yard,  5c  up. 


293 

CAMBRIC. 

Paragraph  6.  The  name  cambric  was  originally  applied  only  to 
a  very  fine  linen  cloth.  A  fabric  by  this  name  is  now  made  of  cotton, 
however,  though  not  so  good  in  quality  as  that  made  of  linen.  It  is 
a  plain  weave  with  very  smooth  surfaces.  It  is  sometimes  spoken  of 
as  cambric  muslin.  It  is  used  for  linings  and  underwear.  Most 
common  width,  36".  Usual  price  per  yard,  lOc  to  30c. 

CANTON  FLANNEL. 

Paragraph  7.  Canton  flannel  originated  in  Canton,  China.  It  is 
a  very  common  cotton  fabric  and  may  be  easily  recognized  by  the 
twilled  surface  on  one  side  and  the  long  smooth  nap  on  the  opposite 
side.  It  is  a  very  strong  material  commonly  used  for  children's  under- 
wear and  interlinings.  Most  common  width  27"  to  30".  Usual  price 
per  yard,  lOc  to  12c. 

CANVAS. 

Paragraph  8.  Canvas  is  a  strong  coarsely  woven  cloth  very 
similar  to  duck.  It  is  used  for  tents,  awnings  and  various  coverings 
which  must  be  exposed  to  weather.  Art  canvas  is  a  name  applied  to 
many  open,  varied  and  ornamental  weaves  of  canvas.  It  is  not  used 
to  any  extent  in  clothing,  but  is  rather  important  in  art  needle-work. 
Most  common  width,  18"  to  36".  Usual  price  per  yard,  25c  up. 

CHAMBRAY. 

Paragraph  9.  Chambray  is  a  very  common  cotton  fabric,  strong 
and  serviceable  and  used  for  house  dresses  and  other  inexpensive 
purposes.  It  is  generally  found  in  plain  colors  with  white  selvages. 
This  is  caused  by  the  fact  that  the  warp  threads  are  colored,  while 
the  woof  threads  are  white.  Most  common  width,  32".  Usual  price 
per  yard,  20c  to  25c. 

CHEESE  CLOTH. 

Paragraph  10.  Cheese  Cloth  is  a  very  cheap  cotton  fabric,  de- 
riving its  name  from  the  purpose  for  which  it  was  first  used,  to  wrap 
cheese.  It  is  not  a  very  strong  material,  plain  weave,  very  sheer.  It 
was  formerly  made  almost  entirely  in  white,  but  now  may  be  had  in 
various  colors.  It  is  used  frequently  for  cheap  decorations.  Most 
common  width,  36".  Usual  price  per  yard,  5c  to  lOc. 

CORDUROY. 

Paragraph  11.  Corduroy  is  a  very  strong  cotton  material  recog- 
nized by  its  half-round  ridges  running  lengthwise  of  the  cloth.  These 


294 

ridges  or  ribs  resemble  velvet  very  much,  due  to  the  soft  cotton  pile. 
Corduroy  is  used  in  making  garments  which  must  stand  considerable 
wear,  particularly  trousers.  Most  common  width,  22"  to  36".  Usual 
price  per  yard,  50c  to  $3.00. 

CRETONNE. 

Paragraph  12.  Cretonne  is  a  strong  cotton  cloth,  rather  well 
known  for  its  large  designs  and  attractive  colors.  The  design  is 
printed  after  the  clotji  is  woven,  hence  the  design  is  found  only  on 
one  side.  It  is  used  principally  for  curtains,  draperies  and  other 
decorative  purposes.  Most  common  \vidth,  25"  to  36".  Usual  price 
per  yard,  15c  to  75c. 

DAMASK. 

Paragraph  13.  The  original  damask  was  a  fine  linen  fabric, 
deriving  its  name  from  Damascus.  A  very  good  imitation  is  now 
made  of  cotton.  It  is  woven  smooth  like  sateen  with  a  distinct  twill 
in  a  conventional  or  floral  design.  Most  common  width,  1  to  2  yards. 
Usual  price  per  yard,  25c  to  75c. 

DENIM. 

Paragraph  14.  Denim  is  a  coarse,  strong  cotton  fabric,  generally 
woven  in  plain  colors,  presenting  a  fine,  uneven,  twilled  weave.  It  is 
most  commonly  used  for  floor  coverings,  upholstering  purposes  or 
coarse  garments  which  must  withstand  hard  wear.  Most  common 
width,  36".  Usual  price  per  yard,  18c  to  25c. 

DIMITY. 

Paragraph  15.  Dimity  is  a  sheer  cotton  fabric,  woven  so  as  to 
present  the  appearance  of  cords  or  ribs.  It  is  made  in  white  or  colors, 
sometimes  printed  with  figures.  It  is  a  very  light  weight  material  and 
is  frequently  used  for  summer  dress  goods.  Most  common  width,  36". 
Usual  price  per  yard,  12V2C  to  20c. 

DUCK. 

Paragraph  16.     Duck  is  a  very  familiar  cotton  fabric.     It  is  a 

.  strong,  heavy  material  used  for  tents,  awnings  and  ship  sails.    Some 

of  the  lighter  weaves  are  used  for  wearing  apparel.     It  may  be  had 

either  in  colors  or  plain  white.     Most  common  width,  27"  to  36 ". 

Usual  price  per  yard,  25c  to  75c. 


295 

FLANNELETTE. 

Paragraph  17.  Flannelette  is  a  very  soft  cotton  material  woven 
so  as  to  present  a  slight  nap  on  both  sides.  It  may  be  had  either  plain 
or  printed  in  colors.  It  is  used  in  making  garments  that  require  soft 
surfaces  as  kimonos,  wrappers  and  the  like.  Most  common  width 
27".  Usual  price  per  yard,  8c  to  15c. 

GALATEA. 

Paragraph  18.  Galatea  is  a  very  heavy  cotton  fabric  which  may 
be  had  either  in  plain  colors,  figures  or  stripes.  It  is  very  strong  and 
serviceable  and  is  particularly  suitable  for  children's  clothing.  It 
will  stand  a  great  deal  of  laundering  without  showing  the  wear.  Most 
common  width,  27".  Usual  price  per  yard,  12V2C  to  25c. 

GINGHAM. 

Paragraph  19.  Gingham  is  probably  the  most  common  and  serv- 
iceable of  the  cotton  fabrics.  It  may  be  had  in  plain  weave  or  in 
almost  any  combination  of  warp  and  woof  threads.  The  fact  that  the 
design  is  woven  into  the  cloth  explains  why  the  ginghams  may  be 
known  by  their  figures  appearing  on  both  sides.  This  distinguishes 
them  from  calicos  and  other  prints.  Gingham  is  used  for  dresses, 
shirts  and  almost  innumerable  purposes.  Most  common  width,  24" 
to  30".  Usual  price  per  yard,  lOc  to  50c. 

HUCKABACK. 

Paragraph  20.  Huckaback  is  a  material  generally  used  for  towels. 
It  may  be  had  either  woven  entirely  of  cotton  or  of  linen.  It  is  also 
sometimes  made  in  combination  of  cotton  and  linen.  It  is  so  woven 
as  to  present  a  rather  rough  surface  which  gives  it  absorbing  qual- 
ities particularly  desirable  in  towels.  Most  common  width,  18". 
Usual  price  per  yard,  20c  up. 

INDIAN  HEAD. 

Paragraph  21.  Indian  Head  is  a  cotton  fabric,  very  much  resemb- 
ling duck,  although  of  much  finer  weave.  It  is  used  for  very  much 
the  same  purposes.  Most  common  width,  36".  Usual  price  per 
yard,  15c. 

KHAKI. 

Paragraph  22.  Khaki  is  a  heavy  plain  woven  material,  very 
similar  to  duck,  usually  brown  or  dust  color.  It  is  used  for  men's 
rough  garments  and  outing  suits.  Most  common  width,  27".  Usual 
price  per  yard,  25c  to  50c. 


296 

LAWN. 

Paragraph  23.  Lawn  is  a  very  fine,  sheer  cotton  fabric  which  may 
be  either  plain  white  or  colored.  It  is  very  commonly  seen  with 
dainty  flower  designs  of  delicate  colors.  It  presents  a  very  soft, 
smooth  finish  and  launders  well.  It  is  used  principally  for  aprons  and 
dresses.  Most  common  width,  36"  to  54".  Usual  price  per  yard,  5c 
to  25c. 

LONG  CLOTH. 

Paragraph  24.  Long  Cloth  is  a  fine  cotton  fabric  made  in  a  great 
many  different  qualities.  It  is  very  soft,  coarsely  woven  and  is  used 
a  great  de^l  in  making  underwear  and  infants'  clothing.  It  closely 
resembles  cambric  and  muslin.  Most  common  width,  36".  Usual 
price  per  yard,  lOc  to  25c. 

MADRAS. 

Paragraph  25.  Madras  is  a  very  common  cotton  fabric.  It  may 
be  found  either  in  white,  striped,  figured  or  plain  colors.  It  is  often 
used  for  dresses  and  shirts.  It  probably  originated  in  Madras,  India, 
from  which  it  derived  its  name.  Most  common  width,  27".  Usual 
price  per  yard,  25c. 

MULL. 

Paragraph  26.  Mull  is  a  very  fine  quality  of  soft  muslin  which  is 
used  in  dresses.  It  may  be  had  in  plain  white  or  colors.  It  was 
originally  a  combination  of  cotton  and  silk.  Most  common  width,  32". 
Usual  price  per  yard,  30c  to  40c. 

MUSLIN. 

Paragraph  27.  Muslin  is  one  of  the  most  common  of  the  cotton 
fabrics.  It  is  made  in  a  great  many  different  qualities,  both  bleached 
and  unbleached.  It  is  used  for  pillow  cases,  sheeting,  linings  and 
underwear.  Most  common  width,  36"  to  72".  Usual  price  per  yard, 
5c  to  15c. 

NAINSOOK. 

Paragraph  28.  Nainsook  is  a  light  cotton  fabric  which  is  very 
soft.  It  does  not  have  as  much  body  as  the  finer  lawn  or  batiste,  but 
is  made  in  various  grades.  It  is  frequently  used  for  infants*  clothing. 
Most  common  width,  27".  Usual  price  per  yard,  15c  to  45c. 

ORGANDIE. 

Paragraph  29.  Organdie  is  a  very  fine,  almost  transparent,  muslin 
of  plain  weave.  It  is  sometimes  stamped  with  figures  or  designs.  It 
is  used  for  dresses.  Most  common  width,  18"  to  60".  Usual  price 
per  yard,  15c  up. 


297 

OUTING  FLANNEL. 

Paragraph  30.  Outing  Flannel  is  a  very  common  cotton  fabric, 
very  similar  in  appearance  to  flannel,  having  the  nap  on  each  side. 
It  may  be  had  in  plain  colors  or  stripes  or  checks.  It  is  used  in 
making  shirts,  petticoats,  pajamas  and  sometimes  used  in  infants' 
clothing.  Most  common  width,  36".  Usual  price  per  yard,  lOc  to  15c. 

PERCALE. 

Paragraph  31.  The  original  percale  was  probably  made  of  linen, 
although  a  great  deal  of  percale  is  now  made  of  a  good  grade  of  cotton. 
It  is  closely  woven,  with  the  figure  woven  into  the  material,  somewhat 
similar  to  gingham.  It  is  used  for  shirts,  dresses  and  aprons.  Most 
common  width,  36".  Usual  price  per  yard,  12l/2c  to  15c. 

SATEEN. 

Paragraph  32.  Sateen  is  a  cotton  imitation  of  satin.  On  one  side 
it  presents  a  twilled  appearance,  on  the  other  side  it  has  a  lustrous 
appearance  very  much  like  satin.  It  is  used  principally  for  linings 
and  underskirts.  Black  is  the  most  common  color.  Most  common 
width,  27".  Usual  price  per  yard,  25c. 

SILKALINE. 

Paragraph  33.  Silkaline  is  a  soft  cotton  fabric  which  bears  a 
slight  resemblance  to  silk,  due  to  its  peculiar  glazed  finish.  It  is 
usually  found  in  attractive  colors  which  are  printed  after  the  material 
is  woven.  It  is  used  for  draperies  and  household  furnishings.  Most 
common  width,  27".  Usual  price  per  yard,  15c. 

TICKING. 

Paragraph  34.  Ticking  is  a  very  strong  cloth  of  excellent  wearing 
qualities.  As  the  name  suggests,  its  principal  use  is  for  mattresses, 
pillows  or  various  other  ticking  purposes.  Most  common  width,  27". 
Usual  price  per  yard,  15c. 

TURKISH  TOWELING. 

Paragraph  35.  Turkish  Toweling  is  a  coarsely  woven  cloth  in 
which,  by  a  special  method  of  weaving,  the  woof  threads  are  continu- 
ously thrown  up  on  the  right  and  wrong  sides  in  short  loops.  It  is 
used  for  towels,  wash  cloths  and  bath  mats.  The  loose  threads  make 
it  particularly  valuable  for  bath  towels,  as  they  give  it  a  decided  ab- 
sorbing quality.  It  is  usually  found  in  white,  but  sometimes  in  plain 


298 

colors.     Most  common  width  15"  to  24".     Usual  price  per  yard,  25c 
to  50c. 

VELOUR. 

Paragraph  36.  Velour  is  woven  in  several  widths,  presenting  a 
smooth  surface,  due  to  the  pile,  somewhat  similar  to  velvet.  The 
lighter  weights  are  used  for  dress  trimming  while  the  heavier  weights 
are  used  for  upholstering  purposes.  It  may  be  had  in  attractive  and 
pretty  designs.  Most  common  width,  36"  to  42".  Usual  price  per 
yard,  $1.00  up. 

LINEN. 

Paragraph  40.  Next  to  cotton,  the  most  important  vegetable  fiber 
comes  from  the  flax  plant.  This  fiber  is  not  a  seed  hair  like  cotton, 
but  is  a  bast  fiber;  this  is  the  tough  thread-like  substance  found  just 
beneath  the  bark  of  the  flax  plant. 

Flax  is  raised  in  a  great  many  different  countries  but  it  varies  in 
the  fineness,  length  and  quality  of  its  fibers.  The  flax  plant  is  cut 
when  ripe,  and  the  stalks  are  then  allowed  to  lie  in  a  damp  place, 
usually  a  swamp  or  an  artificial  pond,  in  order  to  soften  the  outside 
layer  of  the  bark.  This  process  is  called  "retting."  There  are  a  num- 
ber of  artificial  means  now7  adopted  for  the  retting  of  flax.  After  this 
process  is  completed  the  flax  is  broken  and  by  a  proper  machine  the 
bast  fibers  are  separated  from  the  waste  material.  These  fibers  are 
properly  cleaned,  combed  and  spun  into  linen  thread.  This  thread  is 
very  much  stronger  than  thread  spun  from  wool  or  cotton.  The 
strength  of  linen  thread  is  due  to  its  very  long  fibers,  varying  from 
a  few  inches  up  to  several  feet.  Each  fine  fiber  is  a  long  filament 
composed  of  small  cells. 

Linen  is  used  in  a  number  of  the  finer  fabrics  for  domestic  use. 
It  has  been  employed  for  various  home  uses  for  many  centuries,  in 
fact,  it  is  almost  impossible  to  study  the  history  of  the  very  earliest 
people  without  finding  the  use  of  linen.  It  probably  came  into  use 
Jong  before  cotton  wyas  introduced. 

Linen  does  not  stand  the  action  of  alkali  and  soap  as  well  as 
cotton;  it  is  more  difficult  to  dye  than  cotton,  but  is  usually  treated 
with  about  the  same  process.  Linen  fibers  are  very  smooth  and  rather 
gray  in  their  natural  color,  although  they  readily  bleach  to  a  beauti- 
ful white.  This  is  why  linen  is  so  popular  for  table  cloths,  napkins 
and  fine  towels.  Linen  absorbs  moisture  very  rapidly.  In  fact,  one 
of  the  common  tests  for  linen  is  to  touch  it  with  a  moistened  finger 
to  see  whether  it  will  immediately  absorb  the  moisture.  This  test 
is  not  always  accurate,  however,  due  to  the  fact  that  cotton  may  be  so 
woven  as  to  absorb  moisture  in  almost  the  same  way.  A  surer  test 


299 

is  to  moisten  it  with  a  drop  of  glycerine  which  will  be  readily  ab- 
sorbed by  linen,  but  will  not  be  so  readily  absorbed  if  the  cloth  con- 
tains cotton. 

Linen  burns  freely  in  the  air,  almost  entirely  without  disagree- 
able odor;  it  leaves  but  very  little  ash.  Linen  may  usually  be  iden- 
tified by  the  long  slender  point  which  is  left  when  the  thread  is  broken. 
Cotton  thread  usually  breaks  more  abruptly,  leaving  a  ragged  end. 
There  are  a  great  many  chemical  tests  that  are  used  to  detect  the 
presence  of  cotton  or  other  adulterations  in  linen,  these  however,  are 
so  technical  that  no  effort  will  be  made  to  present  them  here;  they 
may  be  found  in  some  of  the  references  given  in  this  text. 

The  following  kinds  of  linen  cloth  are  most  common. 

BATISTE. 

Paragraph  41.  Batiste  is  a  fine,  soft  linen  fabric.  It  is  very  sheer, 
somewhat  similar  to,  but  much  finer  than  cotton  batiste.  It  is  used  for 
waist  and  dress  material.  Most  common  width,  36".  Usual  price  per 
yard,  $1.00. 

BUTCHER'S  LINEN. 

Paragraph  42.  Butcher's  Linen  is  a  very  heavy,,  closely  woven 
material,  somewhat  resembling  canvas  though  finer  and  stronger.  It 
is  used  for  aprons,  dress  skirts  and  for  butchers'  aprons  from  which 
the  name  is  derived.  Most  common  width  27"  to  44".  Usual  price 
per  yard,  35c  to  $1.50. 

CAMBRIC. 

Paragraph  43.  Cambric  is  a  very  fine,  thin  linen  material,  sim- 
ilar to,  but  much  finer  than  cotton  cambric.  It  is  used  for  dress  goods 
and  handkerchiefs.  Most  common  width,  36".  Usual  price  per 
yard,  50c. 

CRASH. 

Paragraph  44.     There   are   a   great  many  different  qualities   of 
'  crash.    Some  are  made  entirely  of  linen,  others  of  cotton  and  some  of 
mixed  materials.    Crash  is  made  principally  for  towels,  though  some- 
times used  for  upholstering  purposes  and  the  finer  grades  for  dress 
goods.    Most  common  width  18"  to  36".    Usual  price  per  yard,  25c  up. 

DAMASK. 

Paragraph  45.  Damask  is  one  of  the  best  known  of  linen  fabrics. 
It  is  a  very  fine  material  used  for  table  cloths,  napkins  and  line 
towels.  It  is  usually  woven  in  figures  and  designs.  Most  common 
width  16"  to  54."  Usual  price  per  yard,  35c  to  $2.00. 


300 

HANDKERCHIEF  LINEN. 

Paragraph  46.  Handkerchief  Linen  is  a  plain,  fine,  smoothly  woven 
fabric  designed  for  handkerchiefs.  It  is  sometimes  used  for  dress 
material.  Most  common  width  30".  Usual  price  per  yard,  50c  to  $2.00. 

HUCKABACK. 

Paragraph  47.  Huckaback  is  a  loosely  woven  linen  fabric,  being 
so  woven  as  to  expose  much  of  the  surface  of  the  woof  threads.  It 
is  so  designed  in  order  to  give  it  a  greater  absorbing  surface.  It  is 
sometimes  made  entirely  of  cotton,  other  grades  are  mixed,  though 
the  finer  qualities  are  of  pure  linen.  Most  common  width  18". 
Usual  price  per  yard,  25c. 


301 

ANIMAL  FIBERS 

WOOL. 

Paragraph  50.  Of  the  animal  fibers,  wool  is  by  far  the  most 
plentiful  and  the  most  important.  Wool  is  the  hair  of  a  certain  class 
of  animals,  of  which  the  sheep  is  most  common.  There  are  a  great 
many  kinds  and  varieties  of  wool  which  vary  principally  in  the  length 
and  fineness  of  their  fibers,  however,  they  are  all  very  similar  in  their 
general  characteristics.  Wool  fiber,  if  carefully  examined  with  a 
magnifying  glass,  will  reveal  a  surface  covered  with  scales  some- 
what similar  to  the  shingles  on  a  roof  or  the  scales  of  a  fish.  It  is 
the  presence  of  these  scales,  which  cling  to  each  other,  that  makes  it 
possible  to  use  the  short  wool  fibers  in  spinning  and  weaving  valu- 
able fabrics. 

Woolen  fibers  are  very  elastic  but  do  not  present  as  great  strength 
as  cotton  or  linen.  The  soft,  loosely  twisted  and  loosely  woven  fibers 
produce  the  woolens  or  the  kinds  of  cloth  which  have  considerable 
nap  or  pile.  These  woolen  fibers  are  sometimes  combed  until  they 
lie  almost  straight  and  parallel;  they  are  then  twisted  into  a  rather 
hard  glossy  thread  of  regular,  even  size.  Such  treatment  of  wool 
produces  the  fine  worsteds,  so  well  known  in  clothing,  particularly  in 
men's  suits. 

Wool  absorbs  and  retains  coloring  matter  very  readily,  it  does 
not  fade  or  lose  its  color  when  exposed  to  sunlight  and  other  condi- 
tions to  which  clothing  must  be  subjected.  This  is  one  property 
which  makes  wool  very  valuable  for  fine  clothing. 

There  are  a  great  many  kinds  of  cloth  made  from  wool.  On 
account  of  its  many  excellent  properties  it  is  used  in  a  greater  variety 
of  ways  than  any  other  textile.  The  most  characteristic  and  peculiar 
quality  of  woolen  fiber  is  its  tendency  to  "felt."  That  is,  the  woolen 
fibers  may  be  brought  so  close  together  that  their  scales  seem  to  mesh 
and  form  a  continuous  fabric  without  weaving.  There  is  no  other 
textile  fiber  which  has  this  property.  Wool  is  very  sensitive  to 
alkalies;  this  explains  why  in  laundering  all-wool  garments  they 
should  not  be  treated  with  strong  soap  or  other  caustic  alkalies. 

Wool  is  very  frequently  adulterated  with  cheaper  fibers,  especially 
cotton.  While  the  introduction  of  a  certain  amount  of  cotton  in  a 
woolen  fabric  may  give  it  added  strength,  yet  such  material  will,  for 
the  most  part,  be  inferior  and  should  be  less  expensive  than  all-wool 
material.  It  requires  a  great  deal  of  training  and  practice  to  be  able 
to  determine  the  presence  of  cotton  in  so-called  "wool  cloth."  A 
great  many  different  tests  have  been  devised  but  they  belong  to  tech- 
nical lines  of  work.  There  are,  however,  a  few  simple  tests  which  are 


302 

easily  made  and  are  therefore  pretty  generally  known.  The  burning 
test  is  quite  common;  woolen  material  burns  very  slowly  and  leaves 
a  distinct  ash,  usually  curled  or  rounded  in  a  bead-like  end.  The 
burning  of  wool  is  accompanied  by  a  very  disagreeable  odor  some- 
what resembling  that  of  burning  feathers.  This  odor  is  due  to  the 
presence  of  the  animal  oil  found  in  the  woolen  fibers. 

By  picking  a  small  sample  of  cloth  to  pieces  and  examining  the 
different  threads,  the  presence  of  cotton  can  usually  be  detected. 
(This  can  often  be  done  on  underside  and  exposed  seams).  Some- 
times by  setting  fire  to  a  piece  of  mixed  goods,  the  cotton,  which  burns 
rapidly,  can  be  readily  burned  out,  while  the  woolen  portion,  which 
burns  more  slowly,  is  left.  While  it  is  not  alwrays  convenient  to  make 
these  tests,  by  careful  practice  one  can  become  sufficiently  acquainted 
with  the  general  appearance  of  various  woolen  materials  to  identify 
them  with  a  reasonable  degree  of  certainty. 

The  following  are  the  most  common  kinds  of  wrool  fabrics. 

ALPACA. 

Paragraph  51.  Alpaca  is  a  fine  woolen  fabric,  which  somewhat 
resembles  silk;  it  is  very  beautiful  on  account  of  its  glossy  appear- 
ance. It  combines  well  with  cotton  and  is  often  so  found.  It  is  used 
extensively  in  dress  goods  and  men's  clothing.  Most  common  wridth 
36"  to  45".  Usual  price  per  yard,  75c  to  $1.00. 

BLANKETS. 

Paragraph  52.  Blankets  are  a  very  common  woolen  fabric, 
known  for  their  soft  covered  surface.  They  are  usually  purchased 
in  full  size  ready  for  use.  They  are  woven  without  any  seams  and 
may  be  had  in  almost  any  color,  with  attractive  designs.  They  are 
frequently  woven  with  part  cotton.  Genuine  all-wool  blankets  are 
usually  sold  from  $7.00  up. 

BROAD  CLOTH. 

Paragraph  53.  One  of  the  finest  of  our  woolen  fabrics,  and 
probably  one  longest  known  as  a  standard  for  fine  suits  is  broad 
cloth.  It  has  a  very  soft  smooth  finished  surface.  It  is  so  closely 
wroven  that  the  separate  threads  do  not  show.  It  is  used  for  various 
kinds  of  dress  goods  and  suiting.  Most  common  width,  50".  Usual 
price  per  yard,  $2.00  to  $7.00. 

BUNTING. 
Paragraph  54.    Bunting  is  a  very  coarsely  woven  woolen  fabric. 


303 

It  is  used  in  making  the  better  grade  of  flags.    It  may  be  had  in  colors. 
Most  common  width,  24".    Usual  price  per  yard,  35c  to  50c. 

CASHMERE. 

Paragraph  55.  Cashmere  has  a  distinct  twilled  weave  that  is 
very  soft.  It  derives  its  name  from  the  cashmere  goat.  It  is  used 
principally  for  dress  goods.  Most  common  width,  36"  to  45".  Usual 
price  per  yard,  75c  to  $1.50. 

CHEVIOT. 

Paragraph  56.  Cheviot  is  a  strictly  woolen  cloth  made  both  with 
a  rough  surface  and  a  smoother  finish.  It  is  very  much  like  serge  but 
somewhat  heavier.  It  is  woven  both  plain  and  twilled.  It  is  used 
principally  for  suiting.  Most  common  width  42"  to  48".  Usual  price 
per  yard,  75c  to  $3.00. 

EIDERDOWN. 

Paragraph  57.  Eiderdown  is  a  heavy  woolen  fabric,  though  it 
presents  a  very  soft  surface  on  account  of  its  long  pile.  It  is  used 
principally  for  wraps.  Most  common  width  27"  to  44".  Usual  price 
per  yard,  75c  to  $1.50. 

FELT. 

Paragraph  58.  Felt  is  a  very  peculiar  woolen  fabric  which  is 
made  without  being  woven  at  all,  but  simply  by  pressing  the  wool 
fibers  so  as  to  form  a  cloth;  no  other  textile  fiber  has  this  property 
of  felting.  It  may  be  had  in  almost  any  of  the  plain  colors.  It  is 
used  for  banners,  pennants  and  table  covers.  Most  common  width, 
24"  to  52".  Usual  price  per  yard,  50c  to  $2.00. 

FLANNEL. 

Paragraph  59.  Flannel  is  a  soft  finished  loosely  woven  material 
which  may  be  had  in  plain  or  various  colors,  slightly  napped.  It  is 
used  for  dress  goods,  shirts,  petticoats  and  infants'  wearing  apparel. 
Most  common  width,  27"  to  36".  Usual  price  per  yard,  50c  to  $1.50. 

HENRIETTA. 

Paragraph  60.  Henrietta  is  a  soft  woolen  fabric  very  much  like 
cashmere.  The  original  henrietta  cloth  was  made  partly  of  silk  and 
partly  of  wool.  It  has  a  distinct  twilled  weave.  It  is  used  in  making 
dresses  and  suits.  Most  common  width  38"  to  45".  Usual  price  per 
yard,  $1.00  to  $2.00. 

PANAMA. 

Paragraph  61.  Panama  is  a  soft  fabric  made  with  a  distinct 
weave  in  plain  colors.  It  is  very  serviceable,  being  used  principally 


304 

for  dresses,  suits  and  skirts.    Most  common  width,  42"  to  54".    Usual 
price  per  yard,  75c  to  $2.00. 

SERGE. 

Paragraph  62.  There  are  many  different  kinds  of  serge  which 
are  named  according  to  their  finishes.  Some  serges  contain  consid- 
erable silk;  they  usually  present  a  smooth,  firm  surface  due  to  the 
hard  finished  yarn.  Serge  is  very  serviceable.  It  is  a  suitable  material 
for  men's  clothing,  also  very  commonly  used  for  women's  wear.  Most 
common  width,  42"  to  54".  Usual  price  per  yard,  75c  to  $3.00. 

VOILE. 

Paragraph  63.  Voile  is  one  of  the  thinnest  of  the  woolen  fabrics, 
coarsely  woven,  even  showing  space  between  the  warp  and  woot 
threads.  It  is  used  for  fine  dresses.  Most  common  width  42"  to  45". 
Usual  price  per  yard,  $1.25  to  $2.00. 

SILKS. 

Paragraph  70.  Silk  is  the  most  valuable  and  the  most  wonderful 
of  all  the  textile  fibers.  It  was  first  used  by  the  Chinese,  probably 
as  early  as  1700  B.  C.  The  origin  of  silk  was  kept  a  secret  among 
the  Chinese  until  about  550  A.  D.  About  that  time  it  became  known 
in  Europe.  Silk  is  by  far  the  strongest  of  the  textile  fibers,  being 
almost  equal  in  tensile  strength  to  an  iron  wire  of  the  same  diameter. 
This  great  strength  is  due  to  the  nature  of  its  fibers,  being  composed 
not  of  short  interwoven  fibers,  as  is  the  case  with  wool  or  cotton, 
but  consisting  rather  of  one  long  and  continuous  filament,  ranging 
from  four  to  thirteen  hundred  yards  in  length.  Each  of  these  fila- 
ments is  the  product  raveled  from  a  single  cocoon.  These  cocoons 
are  made  by  what  is  commonly  known  as  the  silk  worm.  It  is  a 
peculiar  kind  of  caterpillar  which  spends  about  three  days  wrapping 
itself  in  a  silk  covering  or  cocoon.  The  material  from  which  the 
caterpillar  spins  its  thread  is  an  excretion  from  its  body. 

After  the  caterpillar  is  surrounded  by  its  cocoon,  it  undergoes  a 
very  remarkable  change,  and  would  in  due  time  break  open  the  cocoon 
and  emerge  in  the  form  of  a  butterfly.  This  would  rend  the  cocoon 
and  practically  destroy  the  silk  fibers,  therefore  men  engaged  in  the 
culture  of  silk,  kill  the  pupa  by  subjecting  it  to  heat  or  steam.  It  is 
then  possible,  by  skillful  handling,  to  unravel  the  silk  fiber  which 
has  formed  the  covering  of  the  caterpillar.  These  are  the  fibers  which 
are  spun  into  thread. 

Silk  fiber  has  another  peculiar  property  which  is  distinct  from 
all  other  textile  fibers.  That  is,  its  very  high  luster.  Just  why  silk 


305 

has  this  property  is  not  fully  understood.  It  is  this  property  which 
makes  possible  the  beautiful  sheen  of  the  fine  silks  and  satins. 

Silk  may  be  dyed  with  various  colors,  in  a  manner  similar  to 
wool.  Silk  also  acts  under  alkali  tests  about  the  same  as  wool;  how- 
ever, it  will  stand  a  very  much  higher  temperature.  It  is  not  so  sen- 
sitive to  alkali  as  wool,  neither  is  it  so  quickly  destroyed  by  acids. 

On  account  of  the  many  attractive  properties  of  silk,  also  on  ac- 
count of  its  scarcity,  it  is  quite  frequently  adulterated  by  the  addition 
of  other  fibers  such  as  mercerized  cotton  or  linen.  A  great  many 
tests  have  been  devised  by  which  one  may  determine  whether  a  so- 
called  silk  fiber  is  adulterated.  Most  of  these  tests  are  too  complicated 
to  be  introduced  here.  You  can,  however,  generally  recognize  silk  by 
its  very  soft  pliable  nature.  If  you  are  in  doubt,  a  few  threads  may 
be  drawn  and  examined  separately.  If  examined  under  the  microscope 
these  threads  will  reveal  the  perfectly  smooth  surface  of  the  fiber, 
showing  that  it  is  made  up  of  the  long  filaments  already  described 
rather  than  of  short  fibers  like  cotton  or  linen.  If  the  threads  are 
given  the  burning  test,  the  peculiar  odor  similar  to  burning  feathers 
will  be  evidence  of  genuine  silk.  While  silk  is  not  a  common  fabric 
in  everyday  wearing  apparel,  yet  it  is  sufficiently  common  that  its 
general  properties  should  be  understood. 

The  following  are  the  most  common  kinds  of  silk  fabrics. 

CHIFFON. 

Paragraph  71.  Chiffon  is  a  very  thin  gauze-like  fabric,  usually 
found  in  plain  colors.  It  is  used  extensively  for  trimmings  in  mil- 
linery, also  for  veils  and  dress  goods.  Most  common  width,  46". 
Usual  price  per  yard,  75c  to  $2.00. 

CHINA  SILK. 

Paragraph  72.  China  Silk,  as  the  name  suggests,  is  made  in 
China.  It  is  a  plain  woven  material,  but  has  irregular  threads  and 
is  distinguished  by  its  softness.  It  is  a  very  durable  material  and 
is  therefore  used  for  dress  goods.  Most  common  width,  24".  Usual 
price  per  yard,  $1.00. 

CREPE  DE  CHINE. 

Paragraph  73.  This  is  a  very  beautiful  silk  material,  having  a 
smoother  surface  than  most  of  the  crepes;  it  is  very  soft  and  lustrous. 
Although  it  is  a  plain  weave,  it  is  frequently  changeable,  due  to  the 
twist  of  the  warp  threads;  it  may  be  had  either  in  plain  colors  or 
prints.  It  is  used  for  dress  goods.  Most  common  width,  22".  Usual 
price  per  yard,  60c  to  $1.50. 


306 

FOULARD. 

Paragraph  74.  The  Foulard  is  a  French  silk,  originally  used  tor 
handkerchiefs,  now  used  for  dress  goods;  it  is  made  both  in  the 
plain  and  woven  designs.  Most  common  width,  24".  Usual  price 
per  yard,  60c  to  $1.50. 

PLUSH. 

Paragraph  75.  Plush  is  a  very  common  heavy  silk  fabric,  used 
principally  for  trimmings  or  for  heavy  coats;  it  is  also  used  some- 
what in  upholstering.  It  is  very  similar  to  velvet,  but  has  longer 
and  more  shaggy  pile.  Most  common  width,  24'.  Usual  price  per 
yard,  $3.00. 

PONGEE. 

Paragraph  76.  Pongee  is  a  common  silk  fabric,  used  for  coats 
and  dress  goods.  It  also  originated  in  China  where  it  was  hand 
woven.  Originally  it  was  probably  made  from  the  silk  of  wild  silk 
worms.  It  is  a  soft  fabric,  very  serviceable  and  washable;  it  is  com- 
monly found  in  unbleached  form  also  in  plain  white  and  colors.  Most 
common  width,  27".  Usual  price  per  yard,  $1.00. 

SATIN. 

Paragraph  77.  Satin  is  a  very  common  but  expensive  form  of 
silk.  It  is  used,  not  only  for  clothing,  but  in  many  forms  for  fancy 
decorations.  Some  of  the  better  qualities  are  employed  in  the  con- 
struction of  fine  gowns.  It  is  known  by  its  very  smooth  surface, 
upon  which  much  of  the  \voof  thread  is  exposed,  giving  it  its  char- 
acteristic sheen.  It  is  a  material  that  is  frequently  adulterated  with 
cotton  and  linen,  which  explains  its  variation  in  price.  Most  common 
width,  21"  to  54".  Usual  price  per  yard,  $1.00  to  $10.00. 

TAFFETA. 

Paragraph  78.  Taffeta  is  a  very  thin  glossy  silk,  usually  of  plain 
texture  and  plain  colors,  although  it  is  sometimes  made  with  woven 
figures.  It  is  used  for  gowns  and  linings.  It  is  not  so  strong  and 
serviceable  as  some  of  the  other  silks.  Most  common  width  21"  to 
54".  Usual  price  per  yard,  60c  to  $2.00. 

VELVET. 

Paragraph  79.  Velvet  is  perhaps  the  finest  of  the  silk  fabrics.  It 
is  so  woven  as  to  present  a  rather  long  pile  which  is  so  cut  as  to 
form  a  continuous  smooth  surface.  It  is  used  for  trimmings  and 
also  for  very  fine  gowns.  It  is  frequently  woven  partly  of  cotton  or 
linen  in  the  body.  Most  common  width  18"  to  42".  Usual  price  per 
yard,  $1.(P  to  $10.00. 


307 


CHAPTER  II. 

SEWING  PROCESSES 

INTRODUCTORY  SUGGESTIONS. 


Paragraph  100. 

One  of-  the  lirst  things  to 
think  of  when  beginning  to  sew 
is  the  position  in  which  you 
should  sit.  Sit  erect,  in  an  easy 
position  with  the  work  near 
enough  the  eyes  so  that  it  can 
be  easily  seen.  Observe  the  cor- 
rect position  shown  in  Figure  1. 
Sit  with  both  feet  Hat  on  the 
lloor  so  as  not  to  tire  the  mus- 
cles of  the  back;  whenever  it  is 
w_ 

necessary  to  look  at  the  work 
very  closely,  lift  it  to  accommo- 
date the  eyes  and  thus  avoid 
bending  the  back,  neck  and 
shoulders  in  the  undesirable 
position  shown  in  Figure  2. 
The  needle  should  be  threaded 


Figure  2.     Incorrect   Position. 


Figure  1     Correct  Position. 

with  thread  about  20"  to  25"  long, 
that  is  about  the  length  of  the  arm. 
Tying  the  knot  is  one  of  the  first 
things  necessary  in  sewing.  Be 
careful  to  have  a  tiny  round  ball 
instead  of  a  bundle  of  loops  at 
the  end  of  the  thread.  To  tie  the 
knot,  hold  the  needle  and  thread 
in  the  right  hand,  wrap  the  end 
of  the  thread  around  the  front 
of  the  forefinger  of  theleft  hand; 
roll  it  with  the  thumb,  and  as 
you  pull  it  off  the  finger  draw 
it  down  to  a  small  knot  with  the 
nail  of  the  second  finger  and  the 
thumb.  It  will  require  a  little 
practice  to  be  able  to  do  it  skill- 
fully. 

A   thimble   should   always   be 


308 


worn  on  the  second  finger  of  the  right  hand  to  protect  the  end  of  the 
finger  or  the  finger  nail.     The  side  of  the  thimble  is  generally  used. 

STRAIGHTENING  CLOTH. 

Paragraph  101.  While  cloth  is  always  woven  so  that  the  threads 
run  perpendicular  to  each  other,  that  is,  the  woof  threads (  those  that 
run  from  selvage  to  selvage)  cross  the  warp  threads  (those  that  run 
lengthwise  of  the  goods)  at  right  angles,  yet  it  is  often  stretched  out  of 
shape  after  it  is  woven.  It  may  be  straightened  by  pulling  it  diagonal- 
ly at  opposite  corners,  and  then  pulling  it  straight  on  the  warp  threads. 

STRAIGHTENING  THE  EDGE  OF  CLOTH, 

Paragraph   102. 

The  edge  of  a  piece  of  cloth 
which  has  been  cut  unevenly 
may  be  straightened  as  follows : 
Pull  out  a  thread  entirely  across 
the  uneven  edge,  starting  to 
draw  it  at  the  point  where  the 
deepest  cut  has  been  made  in 
the  edge  of  the  cloth;  aline  will 
be  formed  where  the  thread  is 
drawn.  With  a  pair  of  sharp 
scissors,  cut  on  this  line.  See 

Figure  3.  Figure    3 

Another  method  sometimes  used  is  to  ravel  off  the  threads  on  the 
uneven  edge  until  you  come  to  one  thread  which  runs  entirely  across 
the  cloth.  Trim  off  the  fringe  so  left  on  the  cloth  until  the  edge  is 
perfectly  even.  EVEN  BASTING. 


Paragraph  103.  Insert  the 
needle  on  the  right  side  of  the 
cloth.  This  will  leave  the  knot 
on  the  right  side,  where  it 
should  be,  for  the  basting  is 
only  a  temporary  stitch  and 
will  be  removed  when  the  per- 
manent stitches  are  done.  Let 
the  needle  extend  (in  the  de- 
sired direction)  under  the  cloth 
and  come  up  again  at  about  1/2/' 
from  where  it  first  entered  the 
cloth.  Put  it  through  the  cloth 
to  the  under  side  again  at  a  space  of  about 


Figure  4. 
making  a  stitch 


309 


long  on  the  right  side.  See  Figure  4.  Continue  the  process  making 
the  stitches  all  of  even  length  on  both  the  right  and  wrong  side  of  the 
material.  Fasten  the  thread  with  three  or  four  small  stitches  sewed 
over  one  another. 

This  stitch  is  used  in  basting  hems  and  seams  that  are  to  be  fitted. 
Its  length  may  be  varied  according  to  the  amount  of  strain  that  is  to 
be  placed  on  the  basted  pieces  before  they  are  permanently  stitched. 

UNEVEN  BASTING. 

Paragraph  104.  The  uneven 
hasting  stitch  is  made  the  same 
as  the  even  basting  stitch  (Par. 
103)  except  that  the  stitch  on 
the  upper  side  of  the  cloth  is 
made  about  two  or  three  times 
as  long  as  the  stitch  on  the  un- 
der side  of  the  cloth.  (See  Fig- 
ure 5.) 

Uneven  basting  is  used  in 
fastening  together  two  or  more 
pieces  of  cloth  where  there  is 
to  be  no  strain  on  them  before  Figure  5. 

the  permanent  basting  is  done.  For  instance,  in  holding  together  the 
lower  part  of  a  full  skirt,  basting  the  seams  for  cuffs  or  holders  and 
things  of  that  sort.  TACKING 

Paragraph  105.  Tacking  is  a  modification  of  the  uneven  basting 
stitch  (Par.  104),  except  that  the  short  stitches  are  usually  made 
slanting  or  vertical.  Tacking  is  used  to  fasten  linings  and  inter- 
linings  to  dress  or  suiting  material. 

Tie    a   knot   in   the   thread;    insert   the    needle    from   the    right 

side  of  the  material ;  take  a  ver- 
tical or  a  slanting  stitch  about 
one-fourth  inch  long  on  the  un- 
der side  of  the  material.  Set 
the  needle  forward  in  the  de- 
sired direction  one-half  an  inch 
or  more.  (See  Figure  6.)  Re- 
peat until  you  have  completely 
fastened  the  two  pieces  togeth- 
er. Fasten  the  thread  by  sew- 
ing over  and  over  a  short  stitch 
Figure  6.  at  the  end. 


310 


THE  RUNNING  STITCH. 

Paragraph  106.  The  r  uniting 
stitch  consists  of  very  short  even 
stitches,  always  the  same  length 
on  the  right  and  wrong  sides  of 
the  material.  To  make  this  stitch, 
tie  a  knot  in  the  thread,  bring 
the  needle  through  from  the  un- 
derside of  the  cloth  (to  place  the 
knot  on  the  under  side);  take  a 
very  short  stitch  on  the  upper 
side  of  the  cloth,  then  one  of 
equal  length  on  the  under  side. 
See  Figure  7.  Continue  this 
process  keeping  the  stitches  even 
Figure  7.  and  straight. 

Instead  of  using  a  knot  in  the  thread  you  may  begin  this  stitch 
by  taking  two  or  three  small  stitches  one  over  another. 

Before  the  dajTs  of  machines  the  running  stitch  was  in  common 
use  for  many  of  the  seams  no.w  made  with  machine  stitching.  This 
stitch  is  still  used  to  fasten  two  pieces  of  material  together  in  a  seam 
where  great  strength  is  not  required.  It  is  used  for  the  first  row  of 
stitching  in  a  French  seam;  it  is  also  used  in  gathering. 

THE  BACKSTITCH. 

Paragraph  107.  The  backstitch, 
as  the  name  implies,  is  made  by 
setting  the  needle  back  on  the 
right  side  of  the  material  hah 
the  length  of  the  stitch  just  made 
on  the  underside,  thus  making 
a  continuous  line  of  stitches  re- 
sembling sewing  machine  work. 

First  sew  over  and  over  with  a 
small  stitch  to  fasten  the  thread. 
Insert  the  needle  where  you  be- 
gan the  first  stitch  and  take  a 
stitch  forward  under  the  cloth 
the  length  of  two  stitches,  bring 


Figure  8. 


the  needle  through  and  insert  it  where  the  first  stitch  ends,  bringing 
it  under  the  cloth  the  length  of  the  two  stitches  again.  See  Figure  8. 
Repeat,  keeping  the  line  straight  and  the  stitches  even.  Fasten  by 
sewing  over  the  last  stitch  two  or  three  times. 

This  is  a  strong  stitch  which  may  be  used  any  place  where  ma- 
chine stitching  would  be  desirable  or  where  particularly  strong  hand- 
made seams  are  required. 


311 


COMBINATION   STITCH. 

Paragraph  108.  This  stitch  is 
a  combination  of  the  running 
stitch  and  the  backstitch.  To 
begin  it,  sew  over  a  small  stitch 
two  or  three  times,  then  insert 
the  needle  as  if  to  sew  over 
again,  without  removing  the 
needle,  take  two  short  running 
stitches  forward,  draw  the  needle 
through  to  the  right  sidfi.  Set 
the  needle  back  at  the  beginning 
of  the  last  stitch,  bring  it  through 
at  the  end  of  that  stitch  and 
again  take  two  running  stitches 


Figure  9. 
on   the   needle.     See   Figure  9.     Continue   this   process. 


OVERHANDING. 

Paragraph  109.  Overhanding  consists  of  very  small  stitches 
whipped  over  and  over  edges  of  material,  not  for  the  mere  function 
of  preventing  raveling,  as  is  th3 
case  with  overcasting,  but  to 
bind  the  two  edges  firmly  to- 
gether. 

To  make  this  stitch,  begin  by 
concealing  the  knot  in  a  fold  of 
the  material  or  by  sewing  over 
W  of  the  thread  along  the  edges 
of  the  material.  Insert  the  needle 
at  the  back  of  the  edge  and  bring 
it  through,  pointing  directly  to- 
ward you.  See  Figure  10.  Insert 
again  at  the  back  about  y8"  to 
the  left  of  the  first  stitch  and  Figure  10* 

bring  it  through  again.  Continue  this  process  barely  catching  the  edge 
of  the  material  each  stitch.  This  stitch  will  slant  across  the  top  edge 
of  the  goods,  but  the  needle  should  be  put  through  straight  across. 
The  stitches  should  be  very  shallow  so  the  work  may  be  pressed 
with  thumb  and  finger  without  leaving  a  ridge.  Finish  by  sewing 
over  the  last  stitch  two  or  three  times  to  fasten  the  thread. 

Overhanding  is  used  in  sewing  lace  on  the  edge  of  material  and 
in  fastening  two  selvage  edges  together  in  a  seam,  or  two  folded  edges 
as  in  the  bottom  of  pillow  cases;  it  is  also  used  in  making  a  French 
hem  (Par.  111). 


312 


OVERHANDING  A  SEAM. 

Paragraph  110.  A  seam  may  be  made  by  overhanding  together 
two  selvage  edges  or  two  raw  edges  turned  under.  To  avoid  using  a 
knot  which  would  be  difficult  to  conceal,  you  may  fasten  the  thread 
by  sewing  over  the  end  of  it  in  the  first  few  stitches.  A  knot  may  be 
used  in  overhanding  seams  which  have  the  raw  edges  turned  under. 

This  stitch  is  most  commonly  worked  from  right  to  left  although 
some  prefer  to  work  from  left  to  right.  Hold  the  two  edges  together 
and  overhand  as  explained  in  Paragraph  109. 

The  overhand  seam  is  used  in  sewing  any  kind  of  seams  where 
flat  smooth  work  is  desired  as  in  the  overhand  patch  (Par.  150)  and 
seams  of  pillow  cases. 

OVERHANDING  A  HEM. 

Paragraph  111.  The  overhanded  hem  is  made  by  sewing  the 
folded  edges  of  a  hem  to  the  body  of  the  material  with  the  overhand- 
ing stitch  instead  of  the  hemming  stitch. 

To  do  this  fold  down  the  desired  width  with  the  raw  edge  turned 
under,  crease  firmly  and  baste  if  necessary.  Fold  the  hem  back 
against  the  right  side  of  the  material  so  the  edge  of  the  hem  will  lie 
parallel  with  one  thread  of  the  material.  Overhand  (Par.  109)  the 
parallel  threads  together.  This  makes  the  so-called  French  hem. 

This  hem  is  used  to  finish  -the  ends  of  towels,  table  cloths  and 
napkins. 

OVERHANDING   ON   LACE. 

Paragraph  112.  In  sewing 
lace  to  the  edge  of  material,  it 
is  overhanded  or  whipped  on 
to  make  it  lie  flat  on  the  edge 
of  the  material. 

To  sew  on  the  lace,  lay  the 
edge  parallel  with  the  edge  of 
the  material  with  the  lace  to- 
ward you,  and  overhand  the 
two  edges  together.  See  Figure 
11.  Full  the  lace  slightly  as 
you  sew  by  pushing  it  toward 
the  needle  with  the  thumb. 

Lace  is  overhanded  on  the  edge  of  handkerchiefs,  underwear, 
sleeves,  or  any  place  where  lace  is  used  for  trimming. 


Figure  11. 


313 


Figure  12. 


OVERCASTING. 

Paragraph  113.  Overcasting 
is  a  loose  slanting  stitch  used 
to  prevent  raveling  of  edges.  To 
make  this  stitch,  trim  off  the 
material  which  is  to  be  over- 
casted.  This  stitch  is  usually 
worked  from  left  to  right  al- 
though some  prefer  to  work 
from  right  to  left. 

Tie  a  knot  in  the  thread,  in- 
sert the  needle  from  the  under- 
neath, about  y±"  below  the  edge 
of  the  material ;  bring  it  through 
to  the  right  side,  insert  it  again 
on  the  under  side  ahead  of  the  first  stitch  the  same  distance  as  the 
depth  of  the  stitch;  bring  the  needle  through  and  draw  the  loop  of 
thread  down  until  it  lies  smoothly,  but  loosely,  over  the  edge  of  the 
material.  See  Figure  12.  Continue  this  process.  This  will  make 
the  stitches  lie  at  an  angle  across  the  edge  of  the  cloth.  The  depth 
and  width  of  the  stitches  will  vary  according  to  the  width  of  the 
seams  being  overcasted. 

HEMMING. 

Paragraph  114.  A  hem  is  formed  by  folding  over  an  edge  of 
material,  usually  with  the  raw  edge  slightly  turned  under,  and  sewing 
it  dow7n  securely  to  form  a  neat,  strong  edge.  After  the  hem  is  folded 
and  basted  in  position,  tie  a 
knot  in  the  thread,  insert  the 
needle  between  the  hem  and 
the  cloth  near  the  beginning  of 
the  hem;  bring  it  out  through 
the  edge  of  the  hem.  Pointing 
the  needle  toward  the  left 
shoulder,  take  up  a  thread  of 
the  material  very  near  the  hem, 
and  a  short  distance  ahead  of 
the  first  stitch;  push  it  through 
the  edge  of  the  hem,  making 
the  needle  form  a  V  with  the 

Figure  13. 

thread  as  shown  in  the  illustra- 
tion.   See  Figure  13.    The  stitches  should  be  slanting,  even,  and  close 
together.     Continue  in  this  same  manner  repeating  the  stitches  until 


314 


the  hem  is  sewed  in  place.     Fasten  the  thread  hy  sewing  over  the 
last  stitch  three  or  four  times. 

Hemming  is  so  common  that  there  is  scarcely  a  garment  or  piece 
of  needlework  that  does  not  employ  some  form  of  the  hem  in  its 
construction.  It  is  used  in  handkerchiefs,  curtains,  draperies,  and 
wearing  apparel. 

HEMSTITCHING. 

Paragraph  115.  Hemstitching  is  an  artistic  method  of  making  a 
hem  by  drawing  a  certain  number  of  threads  from  the  body  of  the 
material,  and  catching  the  remaining  threads  regularly  in  the  hem- 
ming procss.  To  make  the  single  hemstitch  first  plan  the  width  bt 
the  hem,  then  from  the  edge  of  the  material  measure  up  twice  the 
width  of  the  hem  plus  the  first  turn  and  draw  a  thread.  Draw7  four 
or  five  more  threads  toward  the  body  of  the  cloth.  The  number  of 
threads  to  be  drawn  depends  upon  the  fineness  of  the  material  and 
the  width  you  desire  to  have  the  hemstitching.  Fold  the  hem  in  place, 
making  the  edge  of  the  hem  exactly  even  with  the  first  drawn  thread: 
crease  firmly  and  baste  with  even  basting.  Tie  a  knot  in  the  thread, 
insert  the  needle  in  the  hem,  near  one  end,  so  as  to  conceal  the  knot, 

bring  the  needle  out  through 
the  edge  of  the  hem.  With  the 
thumb  of  the  left  hand  hold  the 
thread  in  a  loop,  set  the  needle 
under  three  or  four  threads 
(depending  on  the  size  of  the 
threads).  Keep  the  needle  over 
this  loop  of  thread,  then  take 
a  hemming  stitch  into  the  hem, 
then  with  the  thumb  hold  the 
thread  in  a  loop  as  before  and 
take  the  same  number  of 
threads  as  before.  See  Figure 
14.  Continue  until  the  hem  is 
be  even  and  should  all  slant  in 


Figure  14. 


completed.     The  stitches  should  all 
the   same  direction. 

Fasten  the  hemstitching  by  bringing  the  needle  through  to  the 
wrong  side,  sew  over  the  last  stitch  two  or  three  times. 

This  stitch  is  used  to  finish  the  hems  of  napkins,  table  cloths, 
handkerchiefs,  to\vels,  ruffles  on  dresses,  or,  in  fact,  in  any  place 
where  a  fancy  hem  is  desired. 

DOUBLE  HEMSTITCHING. 
Paragraph  116.    Double  hemstitching  is  very  similar  to  the  single 


315 


hemstitching  except  that  it  repeats  the  process  on  the  opposite  side 
of  the  tiny  space   from  which  the  threads  are   drawn. 

To  make  this  stitch,  prepare 
the  hem  as  for  the  single 
hemstitch  (Par.  115).  Hem- 
stitch across  one  edge  (Par. 
115),  then  turning  the  material 
around  begin  on  the  other  edge 
of  the  drawrn  threads  where 
there  is  no  hem  turned  and 
hemstitch  across  catching  up 
the  same  groups  of  threads 
that  you  did  when  stitching 
across  the  first  time.  See  Fig- 
ure '15. 

This  may  be  varied  by  tak- 
ing half  the  threads  in  one  group  and  catching  them  in  with  half  the 
threads  in  another  group.  It  will  thus  give  a  sort  of  V  shaped  ap- 
pearance to  the  hemstitching. 

Double  hemstitching  may  be  used  in  any  place  where  single  hem- 
stitching would  be  appropriate.     (See  Par.  115.) 

DAMASK  HEMSTITCHING. 


Figure  15. 


Paragraph  117.  The  damask 
hemstitch  is  a  modification  of 
the  ordinary  hemstitch,  the 
threads  being  wrapped  to  pro- 
duce an  artistic  effect. 

To  make  this  stitch,  first 
plan  the  hem,  draw  the  desired 
number  of  threads,  crease  and 
baste  the  hem  just  as  in  single 
hemstitching  (Par.  115).  Knot 
the  thread  and  insert  the  needle 
in  the  lower  edge  of  the  hem; 
bring  it  out  through  the  edge  Figure  16. 

of  the  hem.  Place  the  needle  under  three  or  four  of  the  drawn  threads 
and  sew  over  and  over  the  threads  five  or  six  times  or  until  they  are 
completely  covered.  Put  the  needle  under  the  covered  threads  with 
three  or  four  more  uncovered  threads,  wrap  the  thread  around  them 
once,  drawing  it  tight  so  the  threads  thus  wrapped  form  the  bottom 
of  the  V.  See  Figure  16.  Wrap  the  loose  threads  completely  up  to 
the  hem.  This  will  complete  the  V.  Take  a  hemming  stitch  (Par. 


316 


114)  between  the  two  bundles  of  wrapped  threads  into  the  edge  of  the 
hem.  Bind  the  threads  wrapped  last,  and  the  next  three  or  four  un- 
wrapped threads  together  and  continue  across  the  hem. 

The  damask  hemstitch  is  used  to  finish  edges  of  table  linens. 

ROLLED  HEM. 

Paragraph  118.  The  rolled  hem  is  a  very  small  round  hem.  As 
the  name  suggests,  it  is  rolled  rather  than  folded  on  the  edge  of  the 
material.  To  make  a  rolled  hem,  hold  the  edge  of  the  material  between 

the  thumb  and  forefinger  of  the 
left  hand,  and  with  a  twisting 
motion  roll  under  the  edge  of 
the  material  until  you  have  a 
small  hard  roll.  Knot  the  thread 
and  insert  the  needle  under  the 
roll,  to  conceal  the  knot.  Insert 
it  again  at  the  front  about  1/16" 
ahead  of  the  other  stitch,  thus 
wrapping  the  thread  over  the 
roll,  very  much  like  overcasting. 
Continue  the  sewing  as  you  roll, 
Figure  17.  tnus  making  a  rounded  edge. 

See  Figure  17. 

It  requires  care  and  some  practice  to  keep  it  even.  After  the  hem 
is  rolled,  lace  is  usually  overhanded  on  the  edge.  Some  prefer  to  sew7 
the  lace  on  as  they  roll  the  hem;  this  saves  time  but  does  not  make 
the  work  look  quite  so  neat.  Fasten  the  thread  by  taking  two  or 
three  small  stitches  over  one  another  on  the  wrong  side. 

The  rolled  hem  is  used  on  handkerchiefs,  baby  dresses  or  fine 
waists,  in  hemming  the  top  of  dainty  lingerie,  or  in  fact,  any  place 
where  a  very  dainty  hem  is  desired. 

I 

FRENCH  HEM. 

Paragraph  119.  The  French  hem  is  the  same  as  the  overhanded 
hem  discussed  in  Paragraph  111. 

CATCH  STITCHING  OR  HERRINGBONE. 

Paragraph  120.  Catch  stitching  consists  of  short,  even  stitche* 
alternately  taken  in  two  parallel  lines.  (This  can  best  be  seen  ny 
examining  the  underside  of  the  material  after  a  few  stitches  are 
completed.)  In  crossing  over  from  one  line  to  the  other  the  thread 


317 


Figure  18. 


falls  on  the  right  side  of  the 
cloth  so  as  to  form  the  crosses 
or  herringbone  effect  at  the 
ends  of  the  stitches  as  shown 
in  the  illustration.  See  Fig- 
ure 18. 

By  studying  the  illustration 
carefully  you  will  see  that  the 
amount  of  cloth  picked  up 
on  the  needle  each  time  to 
form  a  stitch  is  just  equal  to 
the  distance  between  stitches 
on  the  other  line.  Watch  this 
carefully;  also  keep  the  lines 

of  stitches  exactly  the  same  distance  apart  so  the  work  will  be 
even.  The  manner  of  turning  a  corner  is  shown  in  Figure  19. 
This  stitch  may  be  workei 
from  you,  or  from  left  to  right ; 
this  is  unimportant,  but  ob- 
serve carefully  that  the  stitches 
are  always  so  taken  that  the 
needle  points  back  over  the 
finished  stitches.  I  V* 

Catch  stitching  is  used  in  a 
decorative  way  for  finishing 
flannel  seams,  flannel  patches 
and  infants'  garments.  It  is 
also  employed  in  fancy  needle- 

work°  Figure  19. 


SINGLE   FEATHERSTITCHING. 

Paragraph  121.  Single  featherstitching  consists  of  a  series  of 
even  slanting  (or  bias)  stitches  so  taken  alternately  on  right  and 
left  sides  of  a  central  line  as  to  form  an  ornamental  row  or  border. 

NOTE:  Your  first  effort  at  featherstitching  should  be  on  the 
edge  of  a  hem,  a  seam,  or  a  well  marked  thread  in  the  material 
which  will  seuve  as  a  central  line  for  your  stitches.  After  some 
practice  you  will  be  able  to  follow  an  imaginary  line. 

To  make  this  stitch,  first  conceal  the  knot  by  bringing  the 
needle  through  from  the  under  side  of  the  material  slightly  to  one 
side  of  the  central  line.  With  the  thumb  of  the  left  hand,  hold  the 


318 


thread  down  in  front  of  the 
needle  and  take  a  slanting 
stitch  on  the  opposite  side  of 
the  line.  Make  the  needle  point 
toward  the  central  line  (See 
Figure  20)  slanting  at  the  true 
bias  (45°).  Hold  the  thread 
down  in  front  of  the  needle  as 
before  and  011  the  other  side  of 
the  central  line,  and  slightly 
ahead  take  a  similar  slanting 
stitch.  Continue  the  above  pro- 
cess using  great  care  to  make  all 
stitches  the  same  size  and  slant. 
This  featherstitch  is  used  considerably  for  decorative  purposes 

on  infants'  garments,  wraps  and  blankets.     It  is  also  employed  in  a 

great  many  ways  in  artistic  needlework. 


Figure  20. 


DOUBLE  FEATHERSTITCH. 

Paragraph  122.  The  double 
featherstitch  is  started  in  the 
same  manner  as  the  single 
featherstitch  (Paragraph  121) 
except  that  instead  of  crossing 
to  the  opposite  side  of  the  cen- 
tral line  after  completing  one 
stitch,  two  parallel  stitches,  ex- 
actly the  same  length,  are 
taken  on  each  side  of  the  cen- 
tral line  before  crossing. 

Study  the  position  of  the 
needle  shown  in  Figure  21. 
Note  that  one  of  the  small 

stitches  has  been  completed  just  as  in  the  single  featherstitch,  and 
that  the  needle  is  inserted  and  the  thread  is  lying  in  the  loop  un- 


319 


Figure  22. 


der  the  point  of  the  needle 
for  the  second  stitch. 
When  this  stitch  is  finished, 
the  next  stitch  will  be  taken  as 
shown  in  Figure  22;  it  will  be 
followed  by  a  second  stitch 
parallel  to  it,  completing  the 
two  on  that  side.  Continue  the 
process. 

Double  featherstitching  may 
be  used  anywhere  that  single 
featherstitching  would  be  ap- 
propriate. 


TREBLE    FEATHERSTITCHING. 

Paragraph  123.  Treble  featherstitching,  as  the  name  suggests, 
consists  of  three  stitches  arranged  in  featherstitching.  It  is  started  in 
the  same  manner  as  the  single  featherstitching  (Paragraph  121)  a  sec- 
ond stitch  is  added  making  it  a  double  featherstitch  (Paragraph  122), 
a  third  even  parallel  stitch  is  added  which  completes  the  treble  feath- 
erstitch as  shown  in  the  upper  portion  of  Figures  21  and  22. 

Treble  featherstitching  is  used  very  much  the  same  as  single  or 
double  featherstitching. 

CROSS-STITCH. 


Paragraph  124.  The  cross- 
stitch,  as  the  name  indicates,  is 
so  made  that  the  threads  lie  in 
the  form  of  a  cross;  it  may  be 
slightly  modified  to  suit  the  par- 
ticular style  of  design  on  which 
it  is  applied.  The  instructions 
in  this  paragraph  present  the 
method  of  making  the  simple 
cross-stitch  in  a  straight  line. 
Usually  the  design  for  cross- 
stitching  is  stamped  on  the  ma- 
terial in  small  squares,  parallel 
lines,  or  dots.  Sometimes  regu- 
lar cross-stitch  canvas  is  used. 


Figure  23. 


It  will  be  observed  from  the  illustration  (See  Figures  23  and  24)  that 


320 


Figure  24. 


each  stitch  outlines  the  diagonal  of  a  tiny  square.     These  squares 
may  be  gauged  by  counting  the  threads  or  merely  by  sight. 

To  make  this  stitch,  tie  a  knot  in  the  thread,  bring  the  needle  up 
through  from  the  under  side  of  the  cloth  at  a  point  representing  the 
forward  upper  corner  of  an  imaginary  square.  Insert  the  needle 

again  at  a  point  representing  the 
farther  lower  corner  of  the  same 
square  bringing  the  needle  out 
at  the  farther  upper  corner  of 
the  same  square.  See  Figure  23. 
This  stitch  when  drawrn  down 
will  form  the  first  diagonal,  and 
will  bring  the  thread  in  position 
to  start  the  second  one;  insert 
the  needle  at  the  forward  lower 
corner  of  the  square  and  taking 
a  bias  stitch  on  the  under  side 
bring  it  out  at  the  forward  upper 
corner  of  the  next  square  as 
shown  in  Figure  24.  When 
drawn  down  this  will  form  the  second  diagonal,  thus  completing  the 
cross-stitch  in  the  first  square.  Study  the  illustrations  carefully  and 
continue  the  process. 

It  will  require  careful  work  to  make  these  stitches  perfectly  even 
for  each  time  the  stitch  is  made  the  outline  of  the  little  square  must 
be  clearly  imaged.  After  completing  one  line  of  stitches,  additional 
lines  may  be  added  until  the  design  is  completely  worked  out.  Fasten 
the  thread  by  taking  two  or  three  stitches  over  one  another  on  the 
wrong  side. 

The  cross-stitch  is  used  for  ornamental  purposes.  Sometimes 
different  colors  are  combined  and  the  work  is  varied  to  suit  different 
designs. 

OUTLINE  ETCHING  STITCH. 

Paragraph  125.  The  outline  etching  stitch  is  worked  on  a  line; 
it  has  the  appearance  of  running  stitches  with  their  ends  slightly 
overlapping  somewhat  like  backstitching. 

To  make  the  stitch,  tie  a  knot  in  the  thread  and  bring  the  needle 
through  from  the  under  side  to  conceal  the  knot.  Set  the  needle 
forward  the  length  desired  for  the  stitch  (usually  from  %"  to  3/16") 
and  bring  the  point  up  through  the  material  (with  the  needle  point- 


321 


ing  back  toward  the  stitch  just 
made)  about  one-third  the 
length  of  the  last  stitch.  See 
Figure  25.  (The  upper  portion 
of  this  figure  shows  the  appear- 
ance of  the  stitch  very  much 
enlarged;  from  this  view  you 
may  see  just  how  it  is  made.) 
Again  set  the  needle  forward, 
making  a  stitch  of  the  same 
length  as  the  first  one  and  bring 
the  point  back  through  as  be- 
fore. Continue  until  finished. 
Fasten  the  thread  on  the 
wrong  side  by  sewing  over  and 
over  the  last  stitch. 
This  stitch  is  used  to  pad  the  satin  stitch  in  embroidery  work, 

to  outline  the  stems  and  leaves  of  designs  in  embroidery,  also  for 

general  outlining  of  figures  in  art  needlework. 

THE  CHAIN  STITCH. 

Paragraph  126.  The  chain  stitch  is  rather  simple  consisting  of 
continuous  loops  which  give  the  finished  line  of  stitches  the  appear- 
ance of  a  chain.  To  make  this  stitch,  tie  a  knot  in  the  thread,  bring 
the  needle  through  from  the 
under  side  of  the  cloth  so  as 
to  conceal  the  knot.  With  the 
thumb  of  the  left  hand  hold  the 
thread  in  a  loop,  take  a  small 
stitch  forward  allowing  the 
needle  to  come  out  over  the 
thread  as  shown  in  Figure  26. 
Pull  the  needle  through  draw- 
ing the  thread  just  tight  enough 
to  form  a  neat  "link." 

For  the  next  stitch,  hold  the 
loop  of  thread  down  as  before  Figure  26. 

and  starting  the  point  of  the 

needle  just  inside  the  last  "link"  (just  where  the  thread  comes  out), 
take  another  forward  stitch  (over  the  loop)  thus  forming  the  next 
link.  Continue  this  process  making  all  the  stitches  exactly  the  same 
length  and  drawing  them  equally  so  as  to  form  an  even  chain. 

The  chain  stitch  is  used  for  simple  decoration. 


322 

SEED  STITCH. 

Paragraph  127.  The  seed  stitch  is  a  very  simple  ornamental  stitch 
consisting  of  small  backstitches  (Par.  107).  To  make  the  stitch,  the 
knot  is  tied  and  left  on  the  under  side,  or  two  or  three  stitches  may  be 

taken  over  each  other  to  fasten 
the  thread,  then  make  the  first 
row  of  backstitches,  with  small 
spaces  between  them,  follow 
the  outline  of  the  design;  the 
second  row  of  stitches  should 
be  so  placed  that  they  alternate 
with  the  stitches  in  the  first 
row.  See  Figure  27. 

The  thread  is  fastened  at  the 
end  with  two  or  three  small 
stitches. 

Figure  27.  ^ne  see(^  stitch  is  often  used 

as     a     substitute     for    French 

knots  (Par.  130)  and  for  filling  in  the  centers  of  leaves  and  other 
designs  in  embroidery  work. 


BLANKET  STITCH,  LOOP  STITCH  OR  SINGLE  BUTTONHOLE 

STITCH. 

Paragraph  128.  The  blanket  stitch  consists  of  even  parallel 
stitches  on  the  edge  of  material  so  looped  as  to  cause  a  continu- 
ous line  of  thread  to  lie  along  the  extreme  edge  of  the  goods. 
To  do  this,  fasten  the  thread  by 
inserting  the  needle  about  W 
frpiu  the  edge  of  the  material, 
and  taking  two  or  three  running 
stitches  to  the  edge,  insert  the 
needle  again  where  the  first 
stitch  was  taken  and  bring  it 
out  under  the  edge  of  the  cloth 
over  the  loop  of  thread  as  shown 
in  Figure  28;  this  will  cause  the 
first  blanket  stitch  to  fall  so  as 
to  hide  the  running  stitches  first 
taken.  About  1A"  to  the  right, 
insert  the  needle  in  the  cloth 
again  making  it  exactly  even  Figure  28. 


323 


Figure  29. 


with  the  first  stitch;  bring  it 
through  under  the  edge  of  the 
material  over  the  loop  of  thread 
as  in  the  first  stitch.  Repeat 
until  the  edge  is  completely 
blanket  stitched.  In  turning 
the  corners  take  three  stitches 
in  one  hole,  making  the  stitches 
flare  around  the  corner.  In 
finishing  the  stitch  fasten  the 
thread  by  taking  two  or  three 
running  stitches  under  the  last 
vertical  stitch,  as  in  Figure  29.  A  new  thread  may  be  started  in  just 
the  same  way  that  the  beginning  thread  was  started  except  that  the 
running  stitches  are  taken  under  the  last  blanket  stitch  made,  so  it  is 
not  necessary  to  make  another  stitch  over  them. 

These  stitches  may  be  worked  close  together  and  used  in  making 
a  scalloped  or  embroidered  edge.  They  may  be  varied  in  width  by 
making  one  long  stitch  with  one  shorter  stitch  on  each  side  of  it 
or  by  following  the  curves  of  the  scallops. 

The  blanket  stitch  is  used  to  finish  raw  edges.  It  is  particularly 
desirable  for  finishing  the  edges  of  white  flannel  jackets  and  capes 
for  infants.  Worked  with  yarn,  it  is  used  to  finish  the  edge  of  com- 
forters. It  is  sometimes  used  in  working  buttonholes,  but  since  it 
does  not  make  as  strong  an  edge  as  the  regular  buttonhole  stitch  it 
is  not  desirable. 

THE  COUCHING  STITCH. 

Paragraph  129.  The  couching  stitch  is  made  by  sewing  a  heavy 
cord  neatly  in  place  on  the  lines  of  a  design;  the  design  should  be 
drawn  on  the  material  before  the 
couching  work  is  begun.  The 
cord  usually  consists  of  several 
strands  of  floss  twisted  together. 
To  make  the  couching  stitch, 
tie  a  knot  in  the  thread,  insert 
the  needle  from  the  under  side 
of  the  cloth  so  as  to  conceal  the 
knot.  With  the  thumb  and  finger 
of  the  left  hand  hold  the  cord 
in  place  and  bring  the  needle 
through  to  the  right  side  of  the 
cloth  very  close  to  and  above 
the  cord.  See  Figure  30.  Figure  30. 


324 


Set  the  needle  forward  slightly,  insert  the  point  just  under  the  cord, 
and  take  a  slanting  stitch,  about  1/4"  long  into  the  material;  this  will 
cause  the  stitch  to  surround  the  cord  and  hold  it  in  place.  These 
stitches  should  be  evenly  taken  so  as  to  form  part  of  the  decoration. 
Again  bring  the  needle  through  just  over  the  cord  and  continue  until 
the  cord  is  completely  sewed  in  place.  Fasten  the  thread  on  the 
wrong  side  by  taking  three  or  four  small  stitches  over  one  another  so 
that  they  will  not  show  on  the  right  side. 

This  stitch  is  used  in  sewing  braiding  or  the  rope  floss  on  sofa 
pillows  and  tablecovers  or  for  other  purposes  for  which  this  sort 
of  decoration  would  be  suitable. 

MAKING  FRENCH  KNOTS. 

Paragraph  130.  The  French 
knots  consist  of  artistic  knots 
or  bunches  of  thread  arranged 
on  the  surface  of  material  for 
decorative  purposes. 

To  make  the  French  knot,  tie 

Jm  f  a  knot  in  the  thread  and  bring 

I  the    needle   through    from   the 

j  under  side  of  the  cloth,  hold  the 

ft  needle    horizontally    with    the 

m.  thumb    and    forefinger    of    the 

right  hand  and  with  the  left 
hand  wrap  the  thread  nearest 
the  cloth  around  the  needle  two 
or  three  times  according  to  the 
fineness  of  the  thread  and  the 
size  of  the  knot  desired.  See 
JFigure  31.  Hold  the  thread  in 
place  on  the  needle  while  you 
insert  the  point  of  the  needle 
in  the  cloth  again,  very  close 
to  the  place  where  it  came 
through,  still  holding  the  thread 
tight,  see  Figure  32.  Push  the 
needle  through  the  cloth  to  the 
wrong  side  and  draw  the  thread 
through  until  it  fastens  the 
bundle  of  loops  onto  the  cloth 
Set  the  needle  forward  under  the  cloth  to  the  place 


Figure  31. 


Figure  32. 


in  a  knot  form. 


325 


Figure  33. 


desired  for  the  next  knot  and  repeat.  When  all  the  stitches  are  fin- 
ished bring  the  needle  to  the  under  side  of  the  cloth  and  sew  over  the 
last  stitch  three  or  four  times  to  fasten  the  thread. 

THE  SATIN  STITCH. 

Paragraph  131.  The  satin  stitch  consists  of  over  and  over  stitches 
taken  very  close  together  so  the  threads  will  lie  one  against  the  other. 
When  the  satin  stitch  is  to  be  made  with  fine  thread  the  design  is 

usually  padded,  that  is,  the  in- 
side portion  or  ground  work  of 
the  design  is  filled  with  rows 
of  running,  etching  or  chain 
stitches,  to  give  a  rounded  ap- 
pearance to  the  finished  work. 
The  beauty  of  the  work  de- 
pends much  upon  the  evenness 
and  closeness  of  the  stitches. 
Before  undertaking  to  make 
this  stitch  study  carefully  Fig- 
ure 33,  which  shows  the  top 
leaf  in  the  design  completed, 
one  simply  outlined,  and  the 
next  one  two-thirds  padded  and  partially  satin  stitched.  To  make  this 
stitch,  fasten  the  thread  by  taking  two  or  three  running  stitches  under 
the  padding  on  the  wrong  side,  then  bring  the  needle  through  to  the 
right  side  of  the  material  on  the  line  at  the  left-hand  side  of  the  bot- 
tom of  the  design.  Insert  the  needle  on  the  opposite  side  of  the  design 
bringing  it  through  on  the  line  very  close  to  where  the  first  stitch  came 
through;  allow  the  thread  to  fall  smoothly  over  the  design;  see  Figure 
33.  Repeat,  simply  sewing  over  and  over  keeping  the  stitches  very 
close  together.  It  will  be  necessary  occasionally  to  take  the  thumb 
of  the  left  hand  and  smooth  the  stitches.  The  beauty  of  this  stitch 
lies  in  its  satiny  appearance  when  completed. 

This  stitch  is  used  for  embroidery  work.  Made  with  fine  thread 
it  is  called  French  Embroidery,  and  is  used  on  dainty  waists,  lingerie 
and  baby  garments.  Made  with  coarser  thread,  it  is  used  in  a  great 
variety  of  designs,  to  decorate  sofa  cushions,  table  runners,  heavy  dress 
materials  and  any  material  which  is  embroidered  with  coarse  thread. 

LAZY  DAISY  STITCH. 

Paragraph  132.    The  lazy  daisy  stitch  is  simply  a  loop  of  thread 

fastened  with  a  running  stitch  at  the  top.    It  is  worked  over  a  design. 

To  make  this  stitch  fasten  the  thread  by  taking  two  or  three  tiny 


326 


stitches  one  over  the  other  on  the  under  side  of  the  material  and  bring 
the  needle  through  at  the  center  of  the  design.  Insert  the  needle  again 
very  close  to  the  point  where  the  thread  just  came  out,  thus  forming 
a  loop  of  thread  on  the  right  side  of  the  material ;  draw  this  loop  down 
until  it  is  just  long  enough  to  cover  the  ellipse  or  design  marked  on  the 
cloth.  Without  pulling  the  loop  any  closer,  bring  the  needle  up 

through  the  cloth  at  the  outside  edge 
of  the  design.  Allow  the  needle  to 
pass  through  the  loop  previously 
made,  and  draw  the  thread  down 
carefully  to  fit  the  design;  fasten 
this  loop  in  place  as  shown  in  Fig- 
ure 34,  by  inserting  the  needle  again 
just  outside  of  the  top  of  the  loop 
thus  making  a  short  running  stitch 
over  the  loop.  Bring  the  needle  up 
again  at  the  center  of  the  design, 
and  repeat  until  all  the  loops  have 
been  worked.  Fasten  the  thread  on 
the  under  side  by  taking  two  or 

three  stitches  over  and  over.  The  center  of  the  design  is  usually 
filled  with  French  knots  (Par.  130)  or  with  the  seed  stitch  (Par.  127). 
The  lazy  daisy  stitch  is  used  in  fancy  work.  It  is  an  attractive 
stitch  as  it  is  generally  worked  in  colors;  it  is  used  principally  in 
making  leaves  or  the  petals  of  flowers  like  the  daisy. 

SEWING  ON  HOOKS. 

Paragraph  133.  In  sewing  on 
hooks  and  eyes,  the  hooks  are 
usually  sewed  on  first.  Place 
the  hook  in  the  position  de- 
sired, setting  it  back  from  the 
edge  of  the  hem  at  least  Vg". 
Knot  the  thread  and  insert  the 
needle  about  l/2er  from  the 
hook;  bring  the  needle  through 
between  the  two  thicknesses  of 
cloth  and  bring  it  up  inside  of 
one  of  the  eyelets  of  the  hook; 
sew  over  and  over  this  eyelet 

until     it    is     well     filled    with 

.•A  i  «n  .1  •.  Figure  35. 

stitches;  fill  the  opposite  eyelet 

in  the  same  manner.    See  Figure  35.    Slip  the  needle  between  the  two 


327 


thicknesses  of  the  material  to  the  end  of  the  hook  and  sew  over  and 
over,  under  the  curve  of  the  hook  until  it  is  securely  fastened.  Insert 
the  needle  in  the  material  near  the  hook  and  bring  it  out  between  the 
two  thicknesses  of  the  cloth  about  1/^"  distant.  This  leaves  about  %" 
of  thread  in  the  cloth  which  will  be  sufficient  fastening  for  the  stitches. 
A  neater  and  firmer,  but  more  difficult  way  of  fastening  on  hooks 
and  eyes  is  to  buttonhole  around  the  eyelets  as  shown  in  Figure  36. 

SEWING  ON  EYES. 

There  are  two  kinds  of  eyes 
that  may  be  used  with  the 
hooks,  one  curved  and  the  other 
straight.  The  curved  hook  is 
used  on  fitted  dress  linings  and 
should  be  sewed  on  as  in  Fig- 
ure 36,  letting  the  eye  extend 
beyond  the  hem  the  same  dis- 
tance that  the  hook  has  been 
set  in  from  the  edge  of  the  op- 
posite side.  Sew  around  the  wire 
loops  in  the  eye  just  as  you  did 
the  hook.  Sew  over  and  over 
the  loops  of  the  eye  on  each 

side  to  hold  it  firmly  in  place.    Fasten  the  thread  at  the  beginning  and 

end  the  same  as  in  sewing  on  the  hook. 

To  sew  on  a  straight  eye,  place  it  in  the  proper  position  opposite 

the  hook  as  in  Figure  35.    Sew  around  the  loops  with  the  same  kind 

of  stitch  used  in  sewing  on  hooks. 

SEWING  ON  SNAPS. 


Place  the  smaller  part  of  the 
snap  on  the  upper  edge  of  the 
hem  being  careful  that  the  little 
projection  in  the  snap  is  placed 
out.  Sew  over  and  over  the 
outer  rim  in  the  small  holes 
made  for  this  purpose.  In  sew- 
ing on  the  under  part  of  the 
snap,  be  careful  to  set  it  so  as 
to  receive  the  other  portion  of 
the  snap  correctly.  A  good  way 
to  insure  its  being  exactly  right 
is  to  keep  the  snap  together  un- 
til you  are  ready  to  sew  it  on, 


Figure  36. 


Figure  37. 


328 


unsnap  it  to  sew  on  the  upper  part.  See  Figure  37.  Snap  it  again, 
hold  the  material  in  the  position  which  it  will  take  when  the  snaps  are 
closed;  unsnap  it  without  removing  it  and  sew  it  securely  in  place. 
Hooks  and  eyes  are  used  any  place  in  a  garment  where  an  open- 
ing is  to  be  kept  invisibly  closed.  The  hooks  and  eyes  used  on  skirt 
bands  should  be  large;  those  used  on  thin  dress  materials  should  be 
small.  They  should  harmonize  in  color  with  the  material  used,  that 
is,  the  white  ones  should  be  used  on  light  material  and  black  ones  on 
dark  material.  Snaps  are  also  used  on  plackets  and  on  any  openings 
in  a  garment  where  there  is  little  strain. 

FORMING  A  LOOP. 

Paragraph  134.  A  loop  to  serve  the  same  purpose  as  a  steel  eye 
may  be  formed  of  thread.  It  should  be  made  in  the  exact  place  where 
you  would  sew  on  a  steel  eye  to  receive  the  hook.  Tie  a  knot  in  the 
thread,  insert  the  needle  on  the  upper  side  of  the  cloth  about  W  from 
the  place  where  you  are  to  form  the  loop.  (When  the  loop  is  com- 
pleted cut  off  the  knot.)  Bring  the  needle  up  through  the  cloth  and 
take  about  four  or  five  stitches  over  one  another  (the  number  of 
stitches  may  be  varied  according  to  the  size  of  the  thread),  make 
them  the  same  length  that  you  desire  the  loop;  this  will  depend  on 
the  size  of  the  hook.  As  these  loose  threads  would  not  make  a  very 
satisfactory  loop  to  receive  the  hook,  they  must  be  securely  bound 
together  or  "worked"  as  it  is  usually  called. 

To  work  the  loop  begin  at 
the  left-hand  end  of  the  loop 
of  threads  and  fill  them  with 
blanket  or  loop  stitches  (Par. 
128).  As  the  point  of  the  needle 
would  be  likely  to  catch  in  the 
cloth,  you  may  use  a  blunt  one, 
or  turn  it  so  the  eye  will  pass 
under  the  loop  first,  as  shown 
in  Figure  38.  To  fasten  the 
thread,  bring  the  needle  through 
to  the  wrong  side  of  the  cloth 
at  the  end  of  the  loop,  and  take 
two  or  three  stitches  over  one 
another. 


Figure  38. 


The  loop  is  used  as  a  substitute  for  the  steel  eye  on  lace  yokes, 
plackets  or  other  openings  in  sheer  cotton  materials,  also  for  silks  or 
even  woolen  garments  where  the  steel  eye  is  likely  to  show.  It 


329 

should  be  made  with  thread  to  match  the  color  of  the  material  on 
which  it  is  worked. 

SEWING  ON  BUTTONS. 

Paragraph  135.  Fasten  the  thread  by  taking  two  or  three  small 
stitches  on  the  under  side  of  the  material  or,  if  a  knot  is  used,  insert 
the  needle  about  %"  awray  and  running  it  between  the  thicknesses  of 

cloth  bring  it  up  at  the  place 
where  the  button  is  to  be  sewed. 
A  button  should  have  a  shank 
of  thread  under  it  to  raise  it 
from  the  goods.  Such  a  shank 


Q    Q 


may  be  made  by  slipping  a  pin 
under  the  threads  and  sewing 

x  over  it  in  the  manner  shown 

in  No.  3,  Figure  39. 

If  the  button  has  only  two 
holes  as  shown  in  No.  1,  Figure 
39,  bring  the  needle  up  through 
Figure  39.  one  °f  them  and  down  through 

the  opposite  one,  then  slipping 

a  pin  under  the  thread  continue  in  the  same  manner  until  the  holes 
are  filled  with  thread.  If  the  button  has  four  holes,  bring  the  needle 
up  through  one  of  them,  down  through  the  second,  up  through  the 
third  and  down  through  the  fourth,  slip  the  pin  under  the  threads  as 
in  No.  3,  Figure  39,  and  continue  in  the  same  manner  until  the  holes 
are  filled.  (Sometimes  the  stitch  is  crossed  by  sewing  diagonally 
from  the  first  to  the  third  hole  and  from  the  second  to  the  fourth,  but 
this  method  is  not  usually  considered  as  neat  as  the  method  shown 
in  No.  2,  Figure  39.) 

When  the  button  is  securely  fastened,  remove  the  pin  and  wrap 
the  thread  several  times  around  the  loose  threads  under  the  button. 
Fasten  the  thread  by  running  the  needle  through  to  the  wrong  side 
and  making  two  or  three  small  stitches,  one  over  the  other.  Nos.  1 
and  2,  Figure  39,  show  a  two-holed  and  four-holed  button  completely 
sewed  on. 

A  button  with  a  cotton  shank  is  sewed  on  by  sewing  through  the 
shank  then  through  one  or  two  thicknesses  of  the  material,  without 
sewing  entirely  through  the  garment.  In  sewing  buttons  on  tailored 
garments  the  thread  is  not  carried  entirely  through  the  material.  On 
heavy  material  where  the  buttons  are  to  have  hard  wear,  they  should 
be  sewed  on  with  coarse  thread.  The  thread  is  sometimes  waxed  to 
make  it  stronger  and  to  make  it  lie  in  the  button  smoothly. 

Shoe  buttons  are  often  fastened  on  with  steel  fasteners,  but  some- 


330 

times  it  is  necessary  to  sew  them  on  at  home;  extra  heavy  linen 
thread  should  be  used  making  an  over  and  over  stitch  as  shown  in 
No.  4,  Figure  39. 

MAKING  BUTTONHOLES. 

Paragraph  136.  A  buttonhole  is  a  slit  made  in  at  least  two  thick- 
nesses of  material  finished  with  the  buttonhole  stitch,  to  receive  a 
button.  The  hems  of  thin  material  are  sometimes  interlined  to  give 
them  more  body  before  working  buttonholes  in  them.  The  two  thick- 
nesses of  heavy  material  are  often  basted  together  and  two  parallel 
rows  of  machine  stitching  or  running  stitches  are  made  around  the 
place  where  the  buttonhole  is  to  be.  The  buttonhole  is  cut  inside  the 
stitching.  Lace  may  be  strengthened  by  basting  a  piece  of  lawn  under 
the  place  where  the  buttonhole  is  to  be  and  trimming  it  off  close  to 
the  buttonhole  after  it  is  worked.  Dried  glue  if  moistened  and  rubbed 
on  both  sides  of  wiry  material  in  the  place  designed  for  the  button- 
hole and  allowed  to  dry  again  will  enable  one  to  cut  and  make  a 
much  neater  buttonhole  on  this  sort  of  material. 

Placing  the  Buttonhole. 

Buttonholes  are  usually  placed  about  *4"  from  the  edge  of  the 
material,  the  distance  apart  depending  upon  the  strain,  the  kind  of 
buttons  used,  and  the  prevailing  style.  Where  there  is  much  strain  on 
them  they  should  be  cut  at  right  angles  to  the  edge  of  the  material,, 
but  they  may  be  cut  parallel  with  the  edge  in  the  pleat  of  a  tailored 
shirt  waist  or  the  placket  of  a  sleeve,  or  any  place  where  there  is  little 
strain.  The  buttonholes  are  generally  placed  on  the  right-hand  side 
of  the  opening  in  ladies'  garments. 

There  are  two  kinds  of  buttonholes,  the  light  buttonhole  (used 
in  light  weight  material)  and  the  heavy  buttonhole  (used  in  heavier 
material  like  coats  and  suits,  and  on  the  bands  of  children's  garments,, 
or  where  there  is  likely  to  be  considerable  strain).  The  light  button- 
hole is  simply  overcast  and  worked  with  the  purling  or  buttonhole 
stitch.  The  heavy  buttonhole  is  stranded,  overcast  and  worked  with 
the  buttonhole  stitch.  Directions  are  given  here  for  the  heavy  button- 
hole only,  because  the  steps  in  the  light  buttonhole  are  the  same 
omitting  the  stranding. 

In  making  the  buttonhole  the  first  thing  to  consider  is  cutting  it. 
It  may  be  cut  with  buttonhole  scissors,  or  with  ordinary  scissors. 
A  buttonhole  should  be  cut  on  a  thread  of  the  cloth  to  avoid  raveling 
and  unevenness  on  the  edge.  Accurate  measurements  should  be  made 
before  cutting  each  buttonhole,  to  make  sure  they  are  all  equally 
distant  from  the  edge.  The  buttonhole  should  be  cut  large  enough 


331 

to  receive  the  button  for  which  it  is  intended.  By  cutting  one  button- 
hole at  a  time,  and  working  it  before  cutting  another,  raveling  of  the 
raw  edges  may  be  avoided. 

To  Cut  a  Buttonhole  With  Buttonhole  Scissors. 

Set  the  buttonhole  scissors  and  make  a  trial  cut  on  a  separate 
piece  of  material;  test  it  with  one  of  the  buttons  which  you  intend  to 
use,  reset  the  scissors  if  necessary.  When  the  scissors  are  properly 
set,  cut  a  buttonhole  carefully  on  the  thread;  keep  the  buttonhole 
scissors  set  in  the  same  position  until  all  the  other  buttonholes  are  cut. 

To  Cut  a  Buttonhole  With  Ordinary  Scissors. 

When  the  buttonhole  is  to  be  placed  across  a  hem,  measure  the 
diameter  of  the  button  and,  using  a  pin  to  mark  the  front  end,  place 
a  second  pin  to  indicate  where  the  back  end  of  the  buttonhole  should 
be,  then  fold  the  hem  lengthwise  and  cut  a  small  slit  (crosswise) 
in  which  to  insert  the  point  of  the  scissors;  open  the  hem  and  cut 
on  the  thread  first  to  one  pin,  then  to  the  other.  When  the  button- 
hole is  to  be  placed  vertically  on  the  hem,  mark  the  ends  with  a  pin, 
fold  the  hem  crosswise  and  cut  to  the  pins  as  already  explained. 


Figure  40. 


332 

Stranding  the  Buttonhole. 

Buttonholes  are  stranded  by  taking  two  long  running  stitches 
over  each  other  as  close  to  the  edge  as  possible  (beginning  at  the  back 
end  and  lower  edge);  two  short  backstitches  should  be  taken  at 
each  end  of  the  buttonhole  as  in  No.  1,  Figure  40.  As  the  stranding 
process  adds  considerable  difficulty  it  is  often  omitted. 

Overcasting  the  Buttonhole. 

After  stranding  the  buttonhole,  begin  at  the  lower  edge  of  the 
back  end  and  overcast  the  edges,  making  very  shallow  stitches  (about 
three  threads  deep,  just  covering  the  strands)  about  1A"  apart.  See 
No.  2,  Figure  40.  When  the  buttonhole  is  overcasted  you  are  then 
ready  to  finish  it  with  the  regular  buttonhole  stitch.  You  should  con- 
tinue this  work  without  breaking  the  thread  used  in  overcasting. 

To  Work  the  Buttonhole. 


Figure  41. 


Figure  42. 


To  make  this  stitch,  hold  the  raw  edge  of  the  buttonhole  over  the 
forefinger  of  the  left  hand,  insert  the  point  of  the  needle  through  the 
buttonhole  (at  the  back  end)  bringing  the  point  through  toward  you 
four  or  five  threads  below  the  edge  of  the  buttonhole.  From  right  to 
left  bring  the  doubled  thread  from  the  eye  of  the  needle  around  the 
point  of  the  needle  as  shown  in  Figure  41;  draw  the  needle  through, 
forming  a  purling  stitch  on  the  edge  of  the  buttonhole  as  shown  in 
Figure  42.  Working  from  right  to  left,  take  the  next  stitch  in  the 
same  manner,  making  it  the  same  depth  and  very  close  to  the  first 
stitch.  Continue  across  the  buttonhole.  When  you  come  to  the  front 
end  of  the  buttonhole,  it  may  be  fanned  by  flaring  the  stitches  as 


333 

shown  in  No.  3,  Figure  40,  taking  about  seven  stitches  to  form  the 
fan  (if  desired  a  barred  or  straight  end  may  be  made  as  shown  in  No. 
4,  Figure  40);  continue  the  work  on  the  other  edge.  The  back  end 
may  be  either  barred  or  fanned  like  the  front  end.  Fasten  the  thread 
by  slipping  the  needle  through  the  first  purling  stitch,  carrying  it 
under  two  or  three  buttonhole  stitches.  When  working  the  button- 
hole it  is  difficult  to  introduce  a  new  thread,  so  care  should  be  taken 
to  have  the  thread  long  enough  (about  27")  to  work  the  entire  button- 
hole. However,  if  the  thread  breaks  or  is  too  short,  fasten  the  new 
thread  as  in  beginning  to  work  a  buttonhole,  bring  the  needle 
up  through  the  last  purling  stitch  and  continue  to  work  the  buttonhole. 

To  Bar  the  End  of  a  Buttonhole. 

The  back  end  of  a  buttonhole  is  often  finished  with  a  bar  as 
shown  in  No.  5,  Figure  40.  To  do  this,  when  you  have  finished 
working  the  second  edge  of  the  buttonhole,  slip  the  needle  through 
the  first  purling  stitch,  drawing  it  up  close  to  the  last  stitch,  then 
slipping  the  needle  under  the  edge  of  the  buttonhole,  bring  it  out 
close  to  the  bottom  of  the  first  stitch.  Insert  it  at  the  bottom  of  the 
last  stitch  and  sew  over  the  end  of  the  buttonhole  three  or  four  times. 
Work  over  these  threads  (with  the  buttonhole  or  loop  stitch),  catch- 
ing the  needle  in  the  material  and  turning  the  purl  toward  the  but- 
tonhole. Fasten  the  thread  with  two  or  three  running  stitches  on  the 
wrong  side. 

The  buttonhole  with  the  bar  at  each  end  is  frequently  used  in 
vertical  buttonholes.  They  are  sometimes  finished  with  a  fan  at 
each  end  as  shown  in  No.  6,  Figure  40.  No.  7  shows  a  heavy  button- 
hole. 

FRENCH  SEAM. 

Paragraph  137.  A  French  seam  is  one  very  commonly  used,  in 
which  the  raw  edges  are  sewed  together  and  turned  inside  the  final 
sewing.  Baste  together  with  a  %"  seam  using  even  basting  (Par.  103), 
sew  about  Vg"  to  1A"  outside  of  the  bastings  so  as  to  allow  for  the  second 
seam.  Trim  off  the  extra  material,  as  in  No.  1,  Figure  43,  to  within  1/16" 
or  Vs"  of  the  stitching  (this  depends  on  the  fineness  of  the  material 
and  the  width  of  the  seam  desired).  Press  the  material  flat  along  the 
line  of  stitching,  turn  it  wrong  side  out  and  carefully  press  a  new 
seam,  thus  turning  in  the  raw  edges  (the  material  will  then  be  folded 
over  as  showrn  in  No.  2,  Figure  43),  baste  with  even  basting  (Par. 


334 


Figure  43. 

103)  and  stitch  from  %"  to  1/4"  from  the  edge;  or  if  the  seam  is  made 
by  hand,  sew  it  together  with  the  combination  stitch  (Par.  108). 

This  seam  is  used  to  join  the  seams  of  underskirts,  princess 
slips,  night  gowns,  shirt  waists,  lingerie  waists  and  light  weight  wash 
dresses. 

THE  FELLED  SEAM  (HEMMED). 

Paragraph  138.  The  felled  seam  is  a  very  flat  seam  made  by 
turning  in  and  hemming,  or  stitching  flat,  one  overlapping  edge  of  a 
seam.  It  is  made  as  follows:  Baste  and  stitch  the  material  with  the 
machine,  or  sew  with  the  combination  stitch,  on  the  wrong  side; 
trim  off  the  raw  edges  to  the  width  desired,  from  3/16"  on  fine  under- 
wear, to  %"  on  tailored  skirts.  Trim  one  edge  of  the  seam  to  within 
about  %"  of  the  stitching;  with  its  raw  edge  slightly  turned  under, 
turn  the  wider  edge  over  to\vard  the  trimmed  edge.  Baste  neatly 
in  place,  being  careful  that  the  seam  lies  perfectly  flat.  See  No.  1, 
Figure  44.  Sew  in  place  with  fine  hemming  stitches  (Par.  114). 


The  Stitched  Fell. 

This  seam  is  made  the  same  as  the  hemmed  fell  except  that  the 
second  edge  is  stitched  as  shown  in  No.  2,  Figure  44,  instead  of  being 
hemmed  in  place;  it  is  sometimes  made  on  the  right  side  of  a 
garment. 


335 


Figure  44. 

The  felled  seam  is  used  any  place  where  a  flat  seam  is  desired. 
It  is  particularly  desirable  in  under  garments,  like  drawers  and 
combination  suits.  Any  garment  which  is  worn  next  to  the  skin 
should  be  finished  with  this  seam. 


Paragraph 


LAPPED  SEAM. 

139.  The  lapped  seam  is  a  very  strong  smooth 
seam  which  lies  perfectly  flat. 
Its  strength  is  due  to  the  fact 
that  it  is  sewed  with  two  rows 
of  stitching.  It  is  made  on  the 
right  side  of  the  garment.  To 
make  this  seam,  turn  up  the 
edge  of  one  piece  of  the  ma- 
terial about  ys"  and  turn  down 
about  i/s"  on  the  edge  of  the 
piece  to  which  it  is  to  be  joined. 
Lap  the  two  seams  Vi"  to  Vfc"» 
as  desired,  baste  them  together 
down  the  center.  If  they  are 
fitted,  it  will  be  necessary  to 
turn  in  the  edges  according  to 
the  line  marked  in  fitting. 
Stitch  on  the  right  side,  as  in 
Figure  45.  Figure  45,  stitching  close  to  the 


336 

edge  ol  Ihe  material  placed  on  top.  Stitch  as  near  the  edge  of  the 
other  as  you  can  from  the  right  side,  but  be  careful  to  keep  the  two 
rows  of  stitching  parallel,  even  though  the  second  row  does  not 
stitch  the  edge  of  the  under  lap  as  evenly  as  it  does  the  upper  one. 
This  seam  is  used  principally  in  finishing  the  seams  of  tailored 
garments. 

OVERCAST  SEAM. 


Figure  46. 

Paragraph  140.  The  overcast  seam  consists  of  an  ordinary  seam 
with  the  raw  edges  overcast  to  prevent  raveling.  To  make  this  seam 
baste  (Par.  103)  and  sew  two  edges  of  the  cloth  in  a  seam,  on  the 
wrong  side,  the  width  desired. 

Press  open  the  raw  edges  and  overcast  each  edge  separately  as 
in  No.  1,  Figure  46,  or  leave  the  two  edges  together  and  overcast  both 
at  the  same  time,  as  in  No.  2.  This  seam  is  used  on  heavy  linen, 
wool,  and  silk  materials  where  it  is  desirable  to  have  the  seam  show 
as  little  as  possible. 

GATHERING. 

Paragraph  141.  Gathering  is  a  very  common  process  in  sewing. 
It  consists  of  running  stitches  drawn  through  the  material  tightly 
enough  to  produce  a  fullness  which  may  be  evenly  divided  when  it 
is  sewed  on  another  piece  of  material.  Gathers  are  generally  placed 
W-  to  1/2"  from  the  edge  of  the  material.  Fasten  the  thread  by 
sewing  over  a  short  stitch  two  or  three  times.  Fill  the  needle  with 


337 


Figure  47. 


running  stitches;  when  the 
needle  is  filled  with  stitches  do 
not  remove  it  from  the  cloth, 
but  as  you  take  up  more 
stitches,  push  the  extra  ones 
off  the  back  of  the  needle  onto 
the  thread,  as  in  Figure  47,  con- 
tinuing until  the  cloth  is  gath- 
ered. To  fasten  the  gathers 
until  you  are  ready  to  sew  them 
on  another  piece  of  material, 
put  a  pin  across  the  stitches, 
vertically,  and  wrap  the  re- 
maining thread  around  the  pin 
a  number  of  times  to  keep  the  gathers  from  slipping  off  the  thread. 
Stroking  the  gathers  (as  our  grandmothers  did)  makes  them  lie 
in  small  pleats.  This  method  is  not  used  as  much  now  as  formerly. 
However,  practically  the  same  results  can  be  obtained  if  you  draw 
the  gathers  up  tight  on  the  thread,  wrap  the  thread  around  a  pin  to 
hold  the  gathers  in  place,  then  (with  the  thumb  and  forefinger  of  the 
left  hand  holding  the  cloth  above  the  gathers)  hold  the  cloth  below 
the  gathers  with  the  right  hand  and  pull  the  gathers  out  straight 
and  pinch  them  tightly  with  the  left  hand.  When  you  are  ready  to 
sew  them  to  another  piece  of  material  loosen  the  gathers  until  they 
fit  the  place  for  which  they  are  intended. 

GATHERING  ON  TWO  THREADS. 

Make  the  first  row  of  running 
stitches  just  as  stated  above, 
without  drawing  up  the  gath- 
ers. Make  a  second  row  of  run- 
ning stitches  about  1/4"  below, 
with  each  stitch  directly  under 
the  stitch  in  the  first  row.  Draw 
the  two  threads  and  adjust  the 
gathers,  as  desired.  See  Figure 
48.  The  two  rows  of  stitches 
will  hold  the  cloth  in  little 
pleats  without  stroking  or 
pinching. 

Gathering  may  be  used  any 
place  where  one  piece  of  a  garment  is  to  be  set  on  another  piece  with 


Figure  48. 


338 


fullness,  as  in  setting  a  full  skirt  on  a  band,  ruffles  on  dresses  or 
underwear,    or    fulling    the    top    of    a    sleeve    into    an    arm    hole. 

SETTING  GATHERS  ON  A  BAND. 

Paragraph  142.  After  care  has  been  taken  to  give  the  gathers  an 
'even  pleated  effect,  they  should  be  sewed  carefully  to  the  band,  or 
to  whatever  part  of  the  garment  they  are  to  be  attached.  Before 

drawing  up  the  gathers  the  ma- 
terial should  be  divided  into 
halves  or  fourths,  according  to 
the  length  of  the  strip  which  is 
to  be  gathered.  If  there  are  to 
be  comparatively  few  gathers, 
divide  the  material  in  halves. 
If  there  is  to  be  a  long  strip 
of  gathers,  divide  the  material 
into  fourths  and  mark  each  di- 
vision with  a  pin  set  in  ver- 
tically. Tnen  divide  the  band 
or  edge  of  the  garment  to  which 
the  gathers  are  to  be  sewed 
into  the  same  number  of  divis- 
ions. Pin  the  materials  together  where  they  are  divided.  Gather  the 
material  in  each  division  on  a  thread,  adjust  the  gathers  and  fasten 
the  extra  thread  around  a  pin  and  baste  the  gathers  carefully  on  that 
division  with  very  small  stitches.  See  Figure  49.  Continue  until 
each  division  is  gathered,  then  stitch  the  gathers  on  to  the  material 
with  a  sewing  machine,  or  with  the  combination  stitch,  being  careful 
lo  sew  on  the  line  of  gathering.  Very  satisfactory  gathering  may 
be  done  on  the  machine.  You  should  study  the  method  of  using  the 
attachments  for  the  particular  kind  of  machine  which  you  have  at 
home. 

CUTTING  BIAS  STRIPS. 

Paragraph  143.  There  are  two  kinds  of  bias  strips,  true  bias  and 
untrue  bias.  A  true  bias  is  cut  at  an  exact  angle  of  45  degrees  by 
folding  the  warp  threads  of  the  material  over  on  the  woof  threads 
and  cutting  on  the  diagonal  formed.  An  untrue  bias  may  be  cut  at 
any  angle  smaller  or  greater  than  the  perfect  diagonal.  Bias  strips 
are  sometimes  cut  by  folding  the  material  in  such  a  way  as  to  cut 
through  several  thicknesses  at  a  time;  this  method  is  rapid,  but  not 
so  accurate  as  the  method  just  given. 


Figure  49. 


339 

Bias  strips  are  used  to  face  curves,  to  bind  seams,  to  finish  the 
raw  edges  of  embroidery  ruffles,  in  place  of  embroidery  insertion, 
to  finish  embroidery  beading  on  the  edges  of  corset  covers,  as 
piping  for  dress  trimming  and  in  a  variety  of  other  ways. 

JOINING  BIAS   STRIPS. 


Figure  50. 

Paragraph  144.  Be  sure  the  ends  to  be  joined  are  cut  on  the  bias* 
lay  these  ends  together  so  the  threads  will  run  parallel  (the  strip 
will  thus  form  a  V  shape),  allowing  the  points  to  extend  over  each 
edge  as  shown  in  No.  1,  Figure  50.  Stitch  together  being  careful 
to  do  it  just  as  shown  in  the  illustration.  Straighten  the  strip,  and 
press  the  seam  open  as  shown  in  No.  2;  trim  off  the  points  even 
with  the  edges  thus  forming  a  straight  continuous  strip  as  shown 
in  No.  3,  Figure  50. 

SQUARING  A  CORNER. 

Paragraph  145.  Where  the  hems  on  the  corners  of  adjoining 
edges  cross,  the  neatness  of  the  work  may  be  improved  by  cutting 
away  some  of  the  extra  thicknesses.  This  may  be  done  by  squaring 
the  corners  so  as  to  leave  the  ends  of  the  hems  square.  To  do  this, 
after  the  hems  are  folded,  crease  the  hems  at  one  corner  sharply  as 
shown  in  No.  1,  Figure  51,  and  with  a  pin  mark  the  place  on  the 
under  hem  where  the  edge  of  the  upper  hem  folds  over  it.  Unfold  the 
upper  hem  and  cut  out  an  oblong  piece  from  the  under  hem  about  %"" 


340 


Figure  51. 

from  the  edge,  as  in  No.  2.  Fold  the  hem  in  place  again,  as  in  No.  3, 
and  finish  with  hemming  (Par.  114)  or  hemstitching  (Par.  115)  as 
desired. 

MITERING  A  CORNER. 

Paragraph  146.    Where  two  hems  overlap  at  a  corner,  it  is  often 
desirable    to    remove    some    of    the    extra    thicknesses    of    material. 


Figure  52. 


341 

This  may  be  done  by  inhering  the  corner.  To  do  this,  lay  the  hem 
the  width  desired,  fold  and  crease  in  place.  The  corner  will  form  a 
square,  as  in  No.  1,  Figure  52.  Keeping  the  hems  creased,  lift  the 
corner  of  the  material  and  pull  it  up  until  it  forms  a  V,  as  in  No.  2, 
Figure  52;  crease  sharply  on  the  diagonal  lines  thus  formed.  Cut 
this  piece  off  slightly  above  the  crease  (allowing  y8"  above  crease  for 
turning  under  the  raw  edges)  so  the  ends  of  the  seams  will  meet  at 
an  angle  of  45  degrees,  thus  forming  a  perfect  mitered  corner.  Turn 
under  the  raw  edge  of  the  upper  hem  and  fold  it  over  the  other  one, 
making  it  form  a  perfect  diagonal  across  the  corner,  as  in  No.  3, 
Figure  52.  Baste  in  place  with  even  basting  (Par.  103)  and  hem 
neatly  (Par.  114). 

MITERING  A  CORNER  OF  LACE. 


Figure  53. 

Paragraph  147.  In  sewing  on  lace  around  a  corner  it  is  necessary 
either  to  gather  the  lace  on  the  inside  edge  sufficiently  to  keep  it 
from  drawing  on  the  outer  edge,  or  to  remove  this  fullness  by  miter- 
ing.  Lace  may  be  mitered  at  almost  any  angle,  but  since  the  methods 
are  so  similar,  directions  are  given  here  only  for  a  square  corner. 
To  do  this,  draw  one  edge  of  the  lace  together  until  a  square  corner 
is  formed  on  the  oposite  edge,  leaving  a  triangular  piece  extending 
the  same  as  in  mitering  a  corner  of  material  explained  in  Paragraph 
146.  When  this  triangular  piece  is  cut  off,  the  edge  of  the  lace  will 
form  a  perfect  miter,  or  an  angle  of  45  degrees.  Before  cutting  ott 


342 

this  triangular  or  V  shaped  piece,  baste  the  lace  together  along  the 
diagonal  line  running  along  one  edge  of  the  V  to  the  corner;  trim 
the  lace  to  within  1/16"  of  the  basting  and  buttonhole  (Par.  136)  the 
edges  together  on  the  wrong  side,  as  shown  in  Figure  53. 

Another  very  satisfactory  way  to  do  this  is  to  buttonhole  along 
the  line  of  basting  threads  on  the  wrong  side  and  trim  off  the  lace 
close  to  the  buttonhole  stitches.  This  method  makes  a  narrower  seam 
than  the  first. 

Lace  may  be  mitered  any  place  where  it  is  sewed  around  a  corner, 
as  in  handkerchiefs,  collars,  square  table  covers  or  dresser  scarfs. 
The  fullness  in  the  edge  of  the  lace  in  lace  yokes  is  often  removed 
by  mitering. 

JOINING  LACE. 

Paragraph  148.  It  is  often  necessary  to  splice  a  piece  of  lace.  An 
ordinary  seam  would  show  plainly  and  mar  the  appearance  of  the 
work.  Lace  may  be  spliced  so  the  joining  will  show  but  very  little. 
To  do  this,  place  the  ends  to  be  joined  so  the  pattern  exactly  matches; 
on  the  wrong  side,  buttonhole  from  one  edge  of  the  lace  to  the  other 
on  a  diagonal  thread.  If  necessary  follow  the  pattern  of  the  lace 
with  the  buttonhole  stitch.  Trim  very  close  to  the  buttonhole  stitches 
on  both  the  right  and  the  wrong  sides. 

HEMMED  OR  SET-ON  PATCH. 

Paragraph  149.  A  hemmed,  or  set-on,  patch  consists  of  a  piece 
of  material  (with  the  raw  edges  turned  under  on  all  sides)  sewed 
over  a  hole  in  another  piece  of  material.  Before  beginning  to  mend 
the  hole,  trim  away  all  the  worn  material  around  it,  preferably  along 
the  warp  and  woof  threads  of  the  material.  If  the  material  is  un- 
figured  it  is  sometimes  desirable  to  make  the  patch  circular  (as  in  a 
corset  cover)  or  triangular  if  the  hole  is  three-cornered.  If  the  hole 
is  longer  than  it  is  wide  the  patch  should  be  made  oblong;  a  three- 
cornered  tear  on  figured  material  can  be  mended  more  neatly  with  a 
square  patch  than  with  a  triangular  one  as  it  is  usually  difficult  to 
match  figures  along  a  diagonal.  To  make  a  patch  show  as  little  as 
possible,  it  is  necessary  to  match  the  figures  in  it  very  carefully  with 
the  figures  in  the  garment.  If  possible,  select  for  the  patch  a  piece  of 
material  that  has  been  worn  as  much  as  the  garment,  because  a  new 
patch  set  into  a  worn  garment  shows  plainly.  A  new  piece  of  material 
may  be  washed  and  hung  in  the  sun  to  fade  if  there  are  no  worn 
pieces  on  hand. 


343 


Figure  54. 

and  turn  back  the  edges  about 
1A"  all  the  way  round  (turning 
the  material  on  the  thread).  Be 
sure  that  no  raw  edges  are  left 
at  any  of  the  corners.  Place  the 
right  side  of  the  patch  on  the 
under  side  of  the  opening,  see- 
ing that  the  figures  in  the  patch 
exactly  match  the  figures  in  the 
material.  Pin  the  edges  of  the 
opening  to  the  patch  in  several 
places,  baste  carefully  with 
even  basting  (Par.  103)  and 


Figure  54  shows  a  hole  torn 
in  a  piece  of  cloth  as  it  might 
be  snagged  in  a  garment;  Fig- 
ure 55  shows  the  torn  portion 
cut  away  to  a  strong  place  in 
the  material.  The  opening  in 
this  case  is  cut  about  square; 
Figure  56  shows  the  completed 
patch  in  which  you  will  notice 
the  checks  in  the  patch  exactly 
match  the  checks  in  the  material. 

To  set-on  such  a  patch,  first 
cut  away  the  frayed  edges,  then 
make  a  small  diagonal  cut  into 
each  corner  of  the  open  square 


Figure  56. 


Figure  55. 

sew  writh  fine  hemming  stitches 
(Par.  114).  (A  patch  on  a  kitch- 
en apron  or  a  garment  that  re- 
ceives a  great  deal  of  hard  wear 
might  be  stitched  along  this 
edge  with  the  sewing  machine.) 
To  finish  the  wrong  side  of 
the  patch  (as  the  outline  of  the 
edges  will  show  on  the  right 
side,  trim  them  evenly),  turn 
under  the  raw  edges  on  a 
thread  all  the  way  around: 
baste  in  position;  hem  neatly 
in  place.  Remove  the  bastings 
and  press  the  patch. 


344 


OVERHAND  OR  SET-IN  PATCH. 


Paragraph  150.  The  over- 
hand, or  set-in,  patch  consists 
of  a  piece  of  material  (with  its 
raw  edges  folded  back  on  all 
sides)  set  into  another  piece  of 
material. 

To  make  this  patch,  cut  away 
all  of  the  worn  material,  pre- 
ferably along  the  warp  and 
woof  threads,  leaving  an  ob- 
long or  square  opening.  Select 
a  piece  of  material  for  the  patch 
as  nearly  as  possible  like  the 
garment  to  be  patched.  Match 
the  design  carefully,  laying  the 
patch  on  the  wrong  side  of  the 


Figure  58. 

of  the  opening  together  with 
very  shallow  stitches  as  in  Fig- 
ure 57;  sew  well  into  the  cor- 
ner, then  turning  the  material 
half  way  round,  fold  the  second 
edge  of  the  patch  to  match  the 
figure  along  the  second  edge  of 
the  opening  and  overhand 
along  this  edge  as  you  did  the 
first.  Continue  folding  the 
patch  and  overhanding  the 
edges  together  until  all  four 
sides  of  the  opening  have  been 
overhanded  to  the  patch,  as  in 
Figure  58. 


Figure  57. 

material  with  the  right  side 
turned  toward  the  right  side  of 
the  material.  Make  small  diag- 
onal cuts  in  the  corners  of  the 
hole  and  turn  the  edges  back 
on  a  thread  about  1/4"  all  around 
the  opening.  Turn  back  the  ma- 
terial along  one  edge  of  tht, 
patch  (follow  a  thread  if  pos- 
sible), where  the  design  exactly 
matches  the  design  in  the  torn 
place.  Beginning  a  little  wray 
from  one  corner,  overhand  the 
edge  of  the  patch  and  the  edge 


Figure  59. 


345 

The  patch  may  be  overhanded  on  the  wrong  side,  but  this  method 
makes  it  much  harder  to  match  the  figures.  The  under  side  of  the 
patch  should  be  finished  neatly.  To  do  this  trim  the  under  edges  of 

the  material  until  they  are  ex- 
actly parallel  and  about  1A" 
wide.  Overcast  all  the  edges 
with  neat  overcasting  stitches 
(Par.  113).  See  Figure  59. 

This  patch  is  not  as  strong 
and  serviceable  as  a  set-on 
patch,  for  it  is  joined  to  the 
opening  with  only  one  seam 
and  the  corners  are  held  merely 
by  a  single  thread.  It  may  be 
used  very  satisfactorily,  how- 
ever, on  thin  goods  like  lawn, 
organdie,  dimity  or  other  very 
light  materials  in  garments 
which  are  laundered  only  oc- 
casionally. 


THE  WOOLEN  PATCH. 

Paragraph  151.  The  material 
with  the  hole  in  it,  as  shown  in 
No.  1,  Figure  60,  is  a  part  of  a 
boy's  pocket  which  had  worn 
through  because  of  the  load  of 
marbles  carried  in  it.  The  patch 
used  to  mend  it  is  made  the 
same  as  the  hemmed  patch  pre- 
viously described,  except  that 
the  wrong  side  is  catch  stitched 
(Par.  120)  in  place  without 
turning  in  the  raw  edges.  The 
material  is  cut  away  to  a  strong 
place,  as  shown  in  No.  2,  Figure 
60,  then  a  patch  which  matches 
the  material  as  nearly  as  pos- 
sible is  basted  under  the  hole. 
The  diagonal  stripes  of  the  ma- 
terial should  be  matched  care- 
fully, the  corners  of  the  open- 


Figure  60. 


346 

ing  cut  in  slightly,  the  edges  turned  in,  basted  and  hemmed  in  place. 
To  finish  the  wrong  side  of  the  patch,  trim  the  edges  about  %"  from 
the  hole  and  without  turning  under  the  raw  edges,  catch  stitch  them 
in  place.  In  patching  the  seat  or  knees  of  a  boy's  trousers,  or  any 
place  where  there  is  likely  to  be  considerable  hard  wear,  it  may  be 
desirable  to  let  the  edges  of  the  patch  extend  farther  beyond  the  hole. 
If  the  material  in  the  patch  ravels  easily,  the  edges  may  be  turned 
under,  and  hemmed  down.  On  material  which  does  not  ravel  easily 
the  patch  may  be  basted  on  the  wrong  side  of  the  material  and  the 
raw  edges  of  the  hole  darned  smoothly  onto  the  patch;  the  wrong 
side  of  the  patch  is  then  finished  as  already  described. 

The  woolen  patch  is  used  in  mending  holes  worn  or  torn  in 
woolen  garments  in  such  a  way  that  they  cannot  be  darned,  or  mended 
satisfactorily  with  mending  tissue. 


Figure  61. 

MENDING  WOOLEN  GOODS  WITH  TISSUE. 
Paragraph  152.  When  a  wroolen  garment  is  torn  and  the  edges  are 
not  badly  frayed,  and  none  of  the  material  is  out  and  gone,  it  may  be 
mended  very  satisfactorily  with  mending  tissue,  a  rubber-like  material 
used  by  tailors.  To  mend  the  tear,  turn  the  garment  to  the  wrong 
side,  place  the  mending  tissue  over  the  hole  so  it  completely  covers 
it  and  extends  at  least  1"  beyond  the  edge  of  the  hole  on  all  sides;  lay 
a  patch  the  same  size  as  the  mending  tissue  over  it  as  shown  in  wrong 
side  view,  Figure  61.  As  the  patch  does  not  show,  it  is  not  necessary 
to  match  the  figures  or  even  the  material  in  the  garment.  (The  mend- 
ing tissue  has  been  allowed  to  extend  from  under  the  patch  merely 
to  show  that  it  is  there,  this  is  not  necessary  in  doing  the  work).  Set 


347 

an  iron  (hot  enough  to  melt  the  mending  tissue,  but  not  hot  enough 
to  scorch  the  material)  on  the  patch;  hold  it  there  (perfectly  still)  a 
short  time,  turn  the  garment  right  side  out  and  examine  the  repaired 
spot,  it  should  be  unnoticeable  as  shown  in  the  right  side  view,  Figure  61. 


Figure  62. 
DARNING  WOOLEN  GOODS. 

Paragraph  153.  Oftentimes  a  tear  in  a  garment  can  be  darned 
more  satisfactorily  than  it  can  be  patched.  No.  1,  Figure  62,  shows  a 
three-cornered  and  a  diagonal  tear  in  a  piece  of  woolen  goods.  No.  2, 
Figure  62,  shows  the  same  piece  with  the  holes  repaired  by  darning. 
In  this  kind  of  work  a  tear  may  be  darned  with  thread  raveled  from 
the  edge  of  a  piece  of  the  material  (if  it  is  strong  enough)  or  with 
silk  thread  to  match. 

To  darn  a  straight  tear,  begin  about  l/2 "  away  and  sew  across  it  with 
fine  running  stitches  (Par.  106)  concealed  in  the  cloth  as  much  as 
possible;  continue  to  sew  about  l/2rf  on  the  opposite  edge  following  the 
weave  of  the  cloth  (sew  over  one  edge  and  under  the  other).  Inserting 
the  needle  very  close  to  the  last  stitch,  make  a  second  rowr  of  running 
stitches  very  close  to,  and  parallel  with,  the  first  row,  going  over  the 
edge  of  the  tear  where  you  went  under  the  first  time.  Continue  in  this 
manner  until  the  tear  is  mended.  Be  careful  not  to  drawr  the  thread 
tight,  as  this  wrill  give  a  puckered  appearance  in  the  darn.  If  this 
work  is  carefully  done  it  will  be  almost  impossible  to  detect  the  darn. 
As  a  rule  it  is  advisable  to  lay  a  piece  of  material  (the  same  as  the 
goods  in  the  garment)  en  the  under  side  of  the  tear  before  darning;  it 
may  be  caught  in  place  with  the  darning  stitches  thus  making  the  darn 
more  substantial.  The  raw  edges  of  the  patch  may  be  catch  stitched 
(Par.  120)  in  place  or  trimmed  close  to  the  darning. 


348 


DARNING  A  STOCKING. 

Paragraph  154.  Stockings  should  be  repaired  as  soon  as  a  small 
hole  appears  in  them,  as  a  small  hole  is  easily  darned  but  a  large  one 
presents  a  difficult  task.  Ordinary  darning  cotton  is  used  to  darn 
lisle  and  all  kinds  of  cotton  stockings.  A  finer  mercerized  darning 
cotton  is  used  for  silk  hose.  Figure  63  shows  a  ragged  hole  in  a 
piece  of  stocking  as  it  might  be  made  by  ordinary  wear.  Figure  61 
showrs  this  hole  trimmed  ready  to  be  darned;  you  w7ill  notice  that 
the  ragged  edges  have  been  cut  away. 

After  the  ragged  edges  have 
been  trimmed  away  as  much 
as  necessary,  place  the  darner 
(an  egg-shaped  wooden  ball 
or  cardboard)  under  the  hole 
and  lay  all  the  threads  in  one 
direction  (shown  in  Figure  65) 
as  follows:  Beginning  about 
12"  from  the  opening,  take  a 
few  running  stitches  in  the 
stocking,  making  the  last  stitch 
come  over  the  edge  of  the  hole; 
take  a  long  stitch  across  the 
opening  on  the  opposite  edge 
continuing  with  running 


Figure  6b. 

stitches  in  the  stocking  about 
W  beyond  the  hole.  Inserting 
the  needle  very  close  to  the  last 
running  stitch  make  another 
row  of  stitches  parallel  with 
the  first  in  just  the  same  way 
(be  careful  not  to  draw  the 
stitches  tight  enough  to  give  a 
puckered  appearance  to  the 
darn).  Continue  reenforcing 
the  edge  and  running  long 
threads  across  the  opening  un- 
til it  is  filled  with  threads  as 
illustrated.  Insert  the  needle 
at  right  angles  to  these  threads, 
weave  under  one  thread,  over 


Figure  64. 


one  thread  across  the  threads  first  put  in,  taking  a  few  running  stitches 
into  the  edge  beyond.    To  return,  insert  the  needle  very  close  to  the 


349 


last  stitch,  take  a  few  running  stitches  to  the  edge  of  the  hole,  weave 
back  across  as  you  did  before.     Continue  weaving  back  and  forth 

until    the    hole    is    filled    with 

woven  threads.  In  a  very 
neat  darn  every  thread  is 
properly  woven  and  the  work 
is  smooth  and  even  without 
any  puckering.  This  gives  the 
hole  the  appearance  of  woven 
cloth  as  shown  in  the  lower 
portion  of  Figure  65. 

NOTE:  In  this  illustration 
white  darning  cotton  was  used 
in  order  that  the  stitches  might 
show  distinctly.  In  actual 
work  use  thread  to  match  the 


Figure  65. 


stocking. 

Where  a  ribbed  stocking  has 
a  run  in  it,  it  may  be  repaired  by  sewing  over  and  over  the  run  with 
thread  to  match.  A  silk  stocking  may  have  the  dropped  stitch  cro- 
cheted back  in  place.  A  large  hole  in  the  knee  of  a  child's  stocking 
may  be  repaired  with  a  hemmed  patch  (Par.  149)  instead  of  a  darn. 

CROCHETED  CHAIN  STITCH. 


Figure  66. 

Paragraph  155.  The  crocheted  chain  stitch  is  the  foundation 
stitch  in  most  crochet  work.  It  consists  of  a  series  of  loops  drawn 
through  each  other  in  a  continuous  chain.  The  chain  stitches  in 
Figure  66,  are  made  of  yarn  with  a  bone  crochet  hook.  To  begin 
the  chain  stitch  tie  an  ordinary  slip  knot  in  the  end  of  the  yarn; 
insert  the  end  of  the  hook  in  the  loop  and  draw  it  down  tight  on  the 
hook.  With  the  crochet  hook  still  in  the  loop,  push  the  hook  forward 


350 

and  catch  it  around  the  loose  strand  of  yarn  (see  Figure  66)  and 
draw  another  loop  through  the  one  already  on  the  hook.  Continue 
drawing  a  new  loop  through  the  last  one  made  until  the  chain  of 
stitches  is  as  long  as  desired,  (ch.  st.  is  the  abbreviation  used  in 
working  directions  for  chain  stitch;  1.  is  the  abbreviation  used  for 
loop). 

Linen,  cotton  thread,  or  wool  yarn  are  used  in  crocheting.  A 
small  steel  hook  is  used  for  thread,  a  bone  or  amber  hook  for  yarn. 
The  directions  given  here  for  crocheting  are  very  elementary.  More 
detailed  instruction,  with  a  great  variety  of  patterns,  can  be  found  in 
books  dealing  especially  with  crocheting. 


Figure  67. 

SLIP  STITCH  CROCHET. 

Paragraph  156.  The  slip  stitch,  which  interlocks  other  crochet 
stitches,  is  made  by  passing  a  hook  through  a  completed  loop  and 
drawing  the  yarn  through  that  loop  before  drawing  it  through  the 
loop  on  the  hook.  The  slip  stitch  in  Figure  67  is  made  of  yarn  with 
a  bone  hook.  First  crochet  a  chain  as  long  as  desired,  then  go  back 
over  it,  picking  up  each  stitch  and  making  a  parallel  line  of  chain 
stitches  with  all  the  stitches  interlocked.  To  do  this,  hold  the  last 
loop  of  the  chain  stitch  on  the  hook,  insert  the  point  of  the  hook 
through  the  next  loop  in  the  chain,  and  catching  the  yarn,  as  in 
Figure  67,  draw  it  through  the  completed  loop  of  the  chain  stitch  and 
continue  drawing  it  until  it  also  passes  through  the  loop  which  is  on 
the  hook.  This  forms  a  new  loop  on  the  hook;  draw  this  loop  tight 
and  inserting  the  hook  through  the  next  completed  stitch,  repeat  the 
process  until  you  have  made  the  number  of  stitches  desired.  The 
abbreviation  for  the  slip  stitch  is  si.  st. 


351 

This  stitch  is  used  in  filet  work,  or  any  place  where  a  solid 
crochet  effect  is  desired  and  in  fastening  other  crochet  stitches 
in  place. 


Figure  68. 
DOUBLE  CROCHET. 

Paragraph  157.  This  stitch  consists  of  a  loop  of  yarn  or  thread 
drawn  through  a  chain  stitch  forming  two  loops  on  the  hook  through 
which  another  loop  is  drawn.  To  do  this,  make  the  chain  as  long  as 
desired,  then  crocheting  back  over  the  chain,  insert  the  point  of  the 
hook  through  the  next  loop  in  the  chain;  draw  a  loop  of  loose  yarn 
through  this  chain  stitch,  thus  forming  two  loops  on  the  hook.  Catch 
the  hook  in  the  loose  strand  of  yarn  again,  as  in  Figure  68,  and  draw 
another  loop  through  the  two  loops  on  the  hook,  forming  a  new  loop 
to  begin  the  next  double  crochet.  Continue  as  far  as  desired.  The 
abbreviation  for  double  crochet  is  d.  c.  This  stitch  is  used  in  a 
great  many  kinds  of  crochet. 

TREBLE  CROCHET. 

Paragraph  158.  In  treble  crochet,  there  are  three  loops  on  the 
hook  at  one  time  instead  of  two  loops,  as  in  double  crochet.  These 
loops  are  drawn  off  the  hook  in  groups  of  two.  To  make  the  treble 
crochet,  chain  stitch  as  far  as  desired,  then  working  back  over  the 
chain  stitch  with  the  last  loop  of  the  chain  on  the  hook,  wrap  the 
loose  strand  of  yarn  around  the  hook  once.  Insert  the  hook  in  the 
next  loop  of  the  chain  and  catching  it  in  the  loose  strand  of  yarn  draw 
a  loop  through  the  chain  stitch,  thus  forming  three  loops  on  the  hook ; 
draw  the  thread  just  caught  through  the  first  two  loops  on  the  hook; 
this  will  leave  two  loops  on  the  hook.  Draw  another  loop  of  the  yarn 


352 


Figure  69. 

through  these  two  loops,  leaving  one  loop  on  the  hook  ready  to  begin 
the  next  treble  crochet.     See  Figure  69.     Continue  as  far  as  desired. 

This  stitch  is  used  in  crocheting  where  a  wide  stitch  is  desired, 
as  in  scallops.  A  half  treble  crochet  is  made  by  wrapping  two  threads 
around  the  hook,  making  four  loops  on  the  hook  at  one  time.  These 
loops  are  taken  off  the  hook  in  groups  of  two  with  three  stitches 
instead  of  two,  as  in  treble  crochet. 


PLACKETS. 

Paragraph  159.  A  placket  is  an  opening  left  in  a  garment  for 
convenience  in  putting  it  on,  the  raw  edges  being  finished  to  keep  it 
from  tearing  or  raveling.  Plackets  are  made  in  skirts,  in  the  bottom 
of  men's  shirt  sleeves  and  in  the  sleeves  of  ladies'  tailored  waists,  for 
convenience  in  laundering. 

A  skirt  placket  should  be  sufficiently  long  to  allow  the  skirt  to 
slip  easily  over  the  head.  As  a  rule,  9"  to  12"  are  allowed,  depending 
on  the  size  of  the  person  wearing  the  skirt  and  the  fullness  of  the 
skirt,  that  is,  the  smaller  the  person  or  the  narrower  the  skirt,  the 
shorter  the  placket  may  be.  Generally  in  a  skirt,  the  upper  end  of 
a  seam  or  pleat  is  left  open  for  the  placket,  although  in  a  gathered 
skirt  or  the  bottom  of  a  sleeve  the  opening  is  usually  cut  in  the  ma- 
terial. When  the  placket  finishes  the  opening  at  the  top  of  a  seam, 
or  pleat,  it  should  appear  to  be  a  continuation  of  the  same.  A  placket 
should  open  from  right  to  left.  It  is  usually  held  together  with 
hooks  and  eyes,  or  snaps,  the  hooks  and  small  parts  of  the  snaps 
being  sewed  on  the  right  side,  the  eyes  and  large  parts  of  the  snaps 
on  the  left,  or  under  side. 


353 
HEMMED  PLACKET. 


Figure  70. 

Paragraph  160.  The  hemmed  placket  consists  of  a  lengthwise 
opening  finished  with  a  wide  hem  on  the  right  edge  lapped  over  the 
left  edge  which  is  finished  with  a  narrow'  hem.  To  make  this  placket 
(Par.  159),  if  there  is  no  opening,  make  a  cut  the  length  desired  being 
careful  to  cut  on  a  thread.  After  the  opening  is  made,  lap  the  right- 
hand  edge  over  the  left-hand  edge  about  %"  and  crease  the  fold 
formed.  Turn  in  the  raw  edge,  forming  a  hem  about  %"  wide;  baste 
with  even  basting  and  sew  in  place  with,  the  hemming  stitch  (Par. 
114).  The  under  side  of  the  placket  is  simply  a  narrow  hem  turned 
toward  the  wrong  side  of  the  cloth.  Make  this  hem  about  3/16"  wide 
at  the  top  and  about  1"  from  the  bottom  of  the  placket;  begin  to 
narrow  it  down  to  the  fine  point  shown  at  the  bottom  of  the  hem  as 
in  No.  1,  Figure  70,  To  finish  the  bottom  of  the  placket,  turn  the 
garment  right  side  out  and  sew  across  the  bottom  of  the  hems  with 
two  parallel  rows  of  backstitching,  or  machine  stitching.  No.  2 
shows  the  finished  placket.  It  is  usually  unnecessary  to  sew  fasten- 
ings on  this  style  of  placket,  as  there  is  but  little  strain  on  it 

This  placket  is  used  in  a  gathered  skirt,  principally  in  children's 
dresses  or  in  night  gowns  made  with  a  yoke. 


354 
BOUND  PLACKET. 


Figure  71. 

Paragraph  161.  The  bound  placket  (Par.  159)  consists  of  one 
strip  of  material  the  same  as  the  garment,  which  is  sewed  on  the 
placket  opening  double,  in  such  a  way  as  to  bind  the  raw  edges.  To 
make  it,  cut  a  strip  of  material  like  the  garment  2"  wide  and  a  trifle 
longer  than  twice  the  length  of  the  opening  left  at  the  top  of  the 
seam.  Lay  the  right  side  of  the  strip  on  the  right  side  of  the  material 
with  the  long  edge  even  with  the  edge  of  the  opening.  If  the  placket 
is  made  at  the  end  of  a  French  seam,  cut  almost  across  the  top  of  the 
seam,  being  very  careful  not  to  cut  too  far.  Baste  the  edge  of  the 
strip  to  the  edge  of  the  opening  making  the  end  of  the  stitching  in 
the  seam  just  touch  the  line  on  which  the  placket  is  to  be  stitched. 
(No.  1,  Figure  71,  shows  the  strip  basted  in  place.)  When  you  sew 
across  the  top  of  the  seam  the  needle  should  barely  catch  the  edge  of 
the  cloth  at  the  seam.  On  an  overcast  or  plain  seam  it  is  often  nec- 
essary to  drop  the  edge  of  the  binding  strip  below  the  edge  of  the 
placket  opening,  beginning  about  1"  each  side  of  the  seam  in  order  to 
keep  the  stitching  even  on  the  strip  and  still  catch  in  the  end  of  the 
seam.  If  too  much  of  the  cloth  at  the  seam  is  sewed  into  the  binding 
strip,  the  bottom  of  the  placket  will  pucker.  Continue  to  baste  the 
strip  around  the  opening,  running  the  two  edges  together  again,  if 
necessary.  Stitch  in  place  or  sew  on  by  hand  with  the  combination 


355 

stitch  (Par.  108).  Turn  the  edge  of  the  strip  over  about  l/s"  toward 
the  wrong  side  (see  No.  1,  Figure  71),  then  fold  it  over  again  until 
the  edge  lies  just  over  the  line  of  stitching.  Hem  neatly  in  place, 
or  stitch  on  the  sewing  machine.  As  it  is  difficult  to  stitch  this  edge 
so  that  both  sides  will  look  equally  wrell,  when  the  last  turning  of 
the  binding  strip  is  stitched  in  place  by  machine,  instead  of  by  hand, 
the  seams  are  generally  turned  toward  the  right  side.  Trim  the  top 
of  the  strip  even  with  the  top  of  the  skirt.  No.  2  in  Figure  71,  shows 
the  completed  placket  open. 

EXTENSION  PLACKET. 


Figure  72. 

Paragraph  162.  The  extension  placket  (Par.  159)  consists  of  two 
narrow  strips  of  material  of  the  same  goods  as  the  garment  in  which 
the  placket  is  to  be  made.  One  strip  which  is  twice  as  wide  as  the 
first,  is  used  to  face  the  upper  edge  of  the  opening;  the  other  is  used 
to  make  an  extension  on  the  under  edge  of  the  placket.  The  seam 
should  be  left  unsewed  the  desired  distance  at  the  top  of  the  garment, 

To  make  the  placket,  first  cut  one  lengthwise  strip  %"  wide,  about 
\"  longer  than  the  opening,  to  face  the  upper  edge.  Cut  the  second 
lengthwise  strip  iy2"  wide,  the  same  length  as  the  opening  plus  1"  for 
the  extension  under  the  edge  of  the  opening. 

To  put  on  the  upper  facing,  lay  the  right  side  of  the  %"  strip  on 
the  right  side  of  the  skirt,  writh  the  edge  even  with  the  edge  of  the 


356 

opening,  allowing  the  top  to  extend  slightly  above  it.  Baste  with  even 
basting  (Par.  103)  and  stitch  in  place  writh  %"  seam,  being  careful  to 
have  this  seam  in  an  exact  line  with  the  stitching  in  the  seam  of  the 
skirt.  Turn  the  long  edge  of  the  facing  under  y8"  and  turn  under 
the  bottom  as  much  as  is  necessary  to  make  it  even  with  the  top  of 
the  seam.  Baste  with  even  basting  and  hem  in  place  (Par.  114),  or, 
if  the  placket  is  made  on  an  under  garment,  it  may  be  stitched  on  the 
sewing  machine.  No.  1,  in  Figure  72,  shows  the  facing  and  the  ex- 
tension piece  partially  basted. 

To  set  on  the  extension  piece,  lay  the  right  side  of  the  l1/^"  strip 
on  the  right  side  of  the  material  allowing  it  to  extend  slightly  above 
the  top  with  the  edge  even  with  the  long  edge  of  the  opening.  Turn 
up  the  bottom  end  until  it  is  exactly  even  with  the  facing  on  the  upper 
edge  of  the  opening.  Sew  the  two  edges  together  (with  machine 
stitching  or  the  running  stitch,  Par.  106),  with  a  y±"  seam,  which 
should  continue  the  line  of  stitching  in  the  seam  of  the  skirt.  Turn 
the  extension  piece  back  even  with  the  stitching  on  the  wrong  side, 
first  turning  the  lower  edge  in  about  1/4".  Baste  carefully  in  place  and 
hem  dowrn  by  hand,  or  stitch  on  the  right  side,  with  the  sewing  ma- 
chine if  the  skirt  is  an  undergarment.  Overhand  the  bottom  edge  of 
the  extension  piece  to  the  bottom  edge  of  the  facing,  and  trim  the  top 
even  with  the  skirt.  Turn  the  garment  right  side  out  and  stitch  across 
the  bottom  of  the  placket  pieces  with  two  parallel  rows  of  machine 
stitching,  or  backstitching  (Chap.  II,  Par.  107).  No.  2  in  Figure  72 
shows  the  right  side  of  the  completed  placket. 

FACED  PLACKET. 

Paragraph  163.  The  faced  placket  (Par.  159)  is  a  combination 
of  the  hemmed  and  extension  plackets,  the  upper,  or  right  edge  of 
the  opening  being  turned  under  in  a  hem,  or  faced  back  with  silk 
or  percaline,  wrhile  the  under,  or  left  edge  is  finished  with  a  double 
or  faced  strip  extending  under  the  upper  edge.  In  making  this 
placket,  finish  the  upper  or  right  edge  first  by  folding  under  the 
material  along  its  edge  so  it  forms  an  exact  line  with  the  edge  of  the 
material  in  the  remainder  of  the  seam,  and  continue  any  stitching 
that  appears  in  the  seam.  Baste  along  the  fold  with  uneven  basting 
(Par.  104),  trim  it  down  to  \"  in  width  and  if  the  material  is  light 
weight,  finish  the  raw  edge  by  turning  it  under,  basting  and  hemming 
it  in  place,  using  very  fine  hemming  stitches,  which  may  be  placed 
about  1A"  apart  (the  stitches  should  scarcely  show  on  the  right  side 
of  the  material);  or  if  the  material  is  of  heavier  weight,  the  edge  may 
be  finished  with  overcasting,  blanket  stitching,  bias  tape  or  binding 


357 


ribbon.  When  the  placket 
is  completed,  the  hooks  are 
sewed  on  about  *4"  from 
the  edge.  The  ends  of  the 
hooks  may  be  covered  as 
in  Figure  73,  by  placing  a 
piece  of  binding  ribbon,  or 
mercerized  dress  braid  over 
them  and  hemming  it  down 
on  the  edges. 

To  finish  the  left  or  un- 
der side  of  the  placket,  put 
on  an  extension  piece  the 
same  as  in  the  extension 
placket  (Par.  162),  or  cut 
Figure  73.  a  piece  of  material  and  a 

strip  of  lining  or  silk  with 

which  to  face  it,  making  each  l1/^"  wide  and  at  least  %"  longer  than 
the  opening.  Lay  the  right  side  of  the  strip  of  material  on  the  right 
side  of  the  skirt,  baste  and  sew  to  the  edge  of  the  opening  with  a  %" 
seam,  making  this  seam  come  in  direct  line  with  the  skirt  seam  (trim 
off  the  edge  of  the  opening  if  necessary).  Press  open  the  seam  with 
the  fingers  and  face  this  strip  with  the  lining  by  stitching  the  edges 
together,  turning  the  facing  under  and  hemming  it  to  the  under  side 
of  the  material  where  the  extension  piece  is  stitched  on.  If  the 
placket  comes  under  a  pleat  it  is  necessary  to  allow  this  facing  to 
extend  beyond  this  stitching  to  make  it  come  under  the  eyes  when 
they  are  sewed  on.  Then  turn  in  the  edges  at  the  bottom,  baste  them 
together  arid  stitch  around  the  bottom  and  the  other  edges  with 
machine  stitching.  Sew  on  the  eyes  opposite  the  hooks. 

This  placket  is  used  on  silk  or  wool  goods.  It  is  especially  de- 
sirable to  use  where  a  tuck  or  pleat  finishes  the  seam. 

SEWING  ON  MACHINE. 

Paragraph  164.  As  the  sewing  machine  is  a  great  time  saver, 
every  girl  should  know  how  to  use  it.  Before  trying  to  sew  on  the 
machine  you  should  study  the  general  directions  that  are  given  in  the 
book  which  accompanies  the  machine.  Do  not  try  to  learn  to  use  any 
special  attachments  until  you  have  learned  to  use  the  machine  for 
ordinary  work. 

You  should  be  able  to  thread  the  machine  correctly,  to  oil  it,  to 
adjust  the  tensions  and  the  length  of  the  stitch.  Learn  to  tread  the 


358 

machine  evenly,  turning  the  wheel  in  the  right  direction.  Before 
stitching  on  a  garment,  it  is  advisable  to  practice  stitching  on  a  piece 
of  striped  material,  using  the  stripes  as  a  guide.  Be  very  careful  to 
keep  the  fingers  from  under  the  needle. 

Hold  the  material  which  you  are  sewing  smooth  and  flat,  with  the 
bulk  of  it  on  the  table  of  the  sewing  machine.  Do  not  pull  the  work 
under  the  presser  foot,  but  let  the  feed  of  the  machine  work  it  through. 
If  the  feed  of  the  machine  does  not  do  this  properly,  it  probably 
needs  to  be  raised.  (It  is  sometimes  necessary  to  pull  the  material 
slightly  when  sewing  over  a  heavy  seam.) 

When  stitching  hems,  the  edges  of  bias  tape,  or  bands,  stitch  very 
close  to  the  edge.  When  stitching  basted  seams,  sew  just  outside  of 
the  basting  threads  as  it  is  difficult  to  remove  the  bastings  after  you 
have  stitched  through  them. 

Remember  that  a  sewing  machine,  like  any  other  machine,  will 
last  longer  and  do  better  work  if  it  is  kept  clean  and  well  oiled.  11 
it  becomes  gummed,  oil  it  with  kerosene,  run  it  rapidly,  wipe  off  all 
the  kerosene  and  oil  it  with  sewing  machine  oil  using  only  a  drop 
in  each  place  where  it  is  needed  (be  careful  to  use  a  good  grade  of 
oil);  then  wipe  the  oil  from  the  needle  and  sew  through  a  piece  of 
scrap  material  (without  having  the  machine  threaded)  until  the  oil 
ceases  to  soil  it. 


359 
CHAPTER  III 

CARE,  REPAIRING,  CLEANING  AND 
PRESSING  OF  CLOTHING 

'  I  'HERE  probably  never  was  a  time  in  the  history  of  civilization 
when  so  much  attention  was  given  to  the  matters  of  dress  as  in 
the  present  day.  To  be  sure  there  have  been  periods  in  which 
the  wealthy  and  royal  classes  were  clad  in  extravagant  finery,  but 
during  those  same  periods  the  peasants  and  laboring  classes  were 
known  by  their  garb  which  wras  barely  sufficient  to  protect  them  from 
the  elements.  In  our  modern  civilization  when  so  much  thought  is 
being  given  to  efficiency  in  all  lines  of  work,  we  are  coming  to  realize 
that  our  consideration  of  efficient  management  should  also  apply  to 
our  habits  of  life.  This  is  especially  true  in  matters  of  clothing. 
Aside  from  the  attributes  of  gentleness  and  kindness  there  is  perhaps 
nothing  w7hich  is  so  indicative  of  personality  as  ones  clothing.  This 
is  sometimes  interpreted  by  the  superficial  thinker  to  mean  that 
costly  clothing  and  striking  effects  are  marks  of  good  taste.  How- 
ever, this  is  not  true.  The  really  well  dressed  person  is  the  one  whose 
apparel  does  not  detract  from  his  personality.  Clothing  should  not 
be  designed  to  attract  attention  by  its  unusual  or  gaudy  appearance. 
A  fairly  good  quality  of  material  neatly  made  up,  well  fitting,  care- 
fully pressed  and  alwrays  immaculate  gives  the  impression  of  refine- 
ment and  good  judgment  on  the  part  of  the  wearer. 

CLOTHING  AND  PERSONALITY. 

It  is  not  unusual  to  hear  the  remark  that  Miss  Blank  always  looks 
well  dressed  in  whatever  she  puts  on.  If  this  is  carefully  analyzed 
you  will  find  that  Miss  Blank's  attractive  appearance  is  many  times 
due  not  so  much  to  the  expensiveness  of  the  clothing  she  wears,  as 
to  the  manner  in  which  she  cares  for  every  detail  of  her  dress,  and 
to  the  impression  of  neatness  and  carefulness  which  her  appearance 
conveys.  It  does  not  require  expense  to  be  clean,  neat  and  well 
groomed.  The  opposite  of  these  conditions  is  indicative  of  careless- 
ness, neglect  and  a  lack  of  culture.  Many  a  person  has  been  refused 
a  position  of  responsibility  on  account  of  the  marks  of  carelessness 
and  lack  of  taste  which  \vere  evident  in  the  personal  appearance. 

ECONOMY  IN  DRESS. 
On  every  hand,  we  hear  expressions  relative  to  the  high  cost  of 


360 

living  and  the  unusual  expense  of  the  things  required  in  daily  life. 
While  this  is  true,  yet  there  are  many  ways  in  which  economy  may 
be  practiced  without  depriving  one  of  real  necessities.  Our  present 
high  cost  of  living  is  due,  almost  entirely,  to  an  over  development  ot" 
people's  wants;  their  needs  remain  the  same  as  in  generations  gone- 
by.  It  is  a  wise  person  who  can  determine  between  his  needs  and 
his  wants  and  can  adjust  this  matter  in  due  proportion  to  his  financial 
income.  By  giving  some  thought  and  attention  to  matters  of  clothing 
much  of  the  so-called  necessary  expense  can  be  saved.  It  is  not  un- 
common in  many  homes  to  find  garments  discarded  for  want  of  a 
little  repair,  or  simply  because  they  are  not  made  according  to  the 
latest  fashion.  It  is  also  common  to  find  excellent  clothes  badly 
abused.  Children  and  young  people  in  particular  are  often  thought- 
less about  the  matter  of  caring  for  their  clothing.  Hats  and  caps 
should  always  be  hung  up,  rather  than  carelessly  thrown  in  the  first 
convenient  place.  Wraps  and  coats  should  be  hung  on  suitable  hang- 
ers. This  is  especially  important  if  these  garments  happen  to  be 
damp. 

Perhaps  you  have  noticed  a  fine  overcoat  with  an  ugly  hurnp 
and  wrinkle  in  the  back  just  below  the  collar,  indicating  that  it  had 
been  hung  on  a  hook  or  a  nail.  Suitable  hangers  for  coats  and  skirts 
are  not  expensive,  in  fact  they  are  often  given  with  the  purchase  of 
the  suit.  They  can  easily  be  made,  however,  by  taking  a  piece  oi 
wooden  hoop  16"  to  18"  long,  wrapping  it  with  cloth,  covering  it  with 
cretonne  or  some  other  attractive  material,  and  providing  a  piece  of 
tape  for  a  hanger.  Any  number  of  such  hangers  can  be  provided 
with  but  little  work. 

CARE  OF  CLOTHING. 

Ones  bedroom  should  be  provided  with  a  good  roomy  wardrobe. 
Sometimes  such  wardrobes  can  not  be  had.  This,  however,  is  no 
excuse  for  neglecting  to  care  for  ones  clothing.  The  dresser  should 
serve  the  purpose  of  caring  for  some  of  the  garments.  A  large  dry 
goods  box  can  easily  be  supplied  to  suit  the  need;  it  can  be  fitted  with 
shelves  and  hangers  at  almost  no  expense.  If  properly  covered  with 
cretonne  or  some  other  attractive  material  and  fitted  with  curtains,  it 
will  serve  the  purpose  of  the  much  needed  wardrobe  and  wrill  not  be 
unattractive  in  the  room. 

The  laundry  bag  should  have  its  definite  place  and  should  re- 
ceive all  soiled  clothes  immediately.  Because  clothing  is  on  its  way 
to  the  laundry  is  no  reason  why  it  should  be  abused.  A  soiled  gar- 
ment may  be  damaged  by  bad  treatment. 

Clothing  when  removed  at  night  should  be  carefully  folded  or 


361 

properly  hung  so  as  to  keep  it  in  good  condition.  Underclothes  and 
in  fact  all  garments  that  have  been  worn  should  be  hung  in  such  a 
way  as  to  receive  free  circulation  of  air.  It  is  not  uncommon  —  par- 
ticularly in  a  child's  bedroom  —  to  find  the  removed  clothing  either 
scattered  about  the  floor  or  thrown  in  a  heap,  waiting  to  be  worn 
the  next  day.  Such  treatment  is  not  only  very  damaging  to  the 
clothing,  but  is  detrimental  to  the  health  of  the  wearer. 

CARE  OF   CLOTHING  BETWEEN   SEASONS. 

The  care  of  the  clothing  between  seasons  is  an  important  matter. 
Before  clothing  is  laid  away  it  should  be  very  carefully  brushed  to 
remove  all  dust.  Spots  and  stains  (if  there  are  any)  should  be  re- 
moved and  the  clothing  should  be  hung  on  a  line  exposed  to  plenty 
of  fresh  air  and  sunshine  (unless  the  material  is  of  such  a  nature 
that  sunshine  will  damage  it)  in  order  to  make  sure  that  it  is  thor- 
oughly clean  before  laying  it  away.  Garments  should  be  neatly 
folded  and  carefully  packed  away  in  drawers  or  boxes  provided  for 
the  purpose.  If  one  is  fortunate  enough  to  have  a  cedar  chest,  it  will 
be  particularly  valuable  in  laying  away  the  furs  and  woolen  garments, 
for  it  will  keep  out  the  moths.  Where  one  does  not  have  a  cedar 
chest,  any  tight  fitting  box  may  be  used.  A  dry  goods  box  or  trunk 
will  answer  the  purpose.  Such  a  substitute  can  be  made  moth  proof 
by  lining  it  with  tarred  paper  and  putting  some  camphor  gum  or  a 
few  moth  balls  in  with  the  clothing.  Tobacco  leaves  are  sometimes 
used  for  this  purpose. 

It  is  an  excellent  plan  to  remove  garments  from  their  packing 
occasionally  and  give  them  a  thorough  airing.  The  amount  of  atten- 
tion given  to  the  packing  away  of  clothing  will,  of  course,  be  gov- 
erned somewhat  by  the  value  of  the  clothing,  but  any  garment  which 
is  to  be  worn  the  following  season  should  have  careful  attention. 

ALTERING  GARMENTS. 

It  is  frequently  good  economy  to  remodel  a  garment  which  has 
been  left  over  from  the  previous  season.  This  is  especially  true  if 
the  material  in  the  garment  is  of  a  fine  quality.  Matters  of  readjust- 
ing sleeves,  putting  in  new  yokes,  trimmings,  and  the  like  are  so 
simple  and  yet  so  important  in  the  appearance  of  the  garment  that 
they  should  have  some  attention.  No  specific  rules  can  be  given  for 
altering  garments,  but  a  few  general  suggestions  have  been  set  forth 
throughout  this  text  in  the  Suggestions  for  Home  Application.  This 
kind  of  work  calls  for  considerable  judgment,  but  if  one  will  give 
thoughtful  attention  to  the  subject  of  altering,  remodeling,  retrimming 


362 

and  the  innumerable  ways  in  which  left-over  clothing  may  be  util- 
ized, the  results  will  be  very  gratifying. 

DYEING. 

The  matter  of  dyeing  or  coloring  garments  was  given  a  great  deal 
of  attention  by  our  grandmothers,  but  most  of  this  class  of  work  is 
now  done  by  professionals.  It  is  impossible  to  give  specific  direc- 
tions for  dyeing  cloth;  different  kinds  of  materials  require  different 
treatment.  Many  different  dyes,  varying  so  widely  in  nature  and  use, 
have  been  made  that  it  is  best,  if  one  expects  to  do  any  dyeing  at 
home,  to  follow  accurately  the  directions  furnished  writh  the  package. 

CLEANING. 

The  subject  of  cleaning  garments  is  a  very  broad  one  covering 
every  line  of  work  from  that  of  the  simple  principles  employed  by 
the  washerwoman  to  the  most  technical  work  done  by  the  professional 
cleaner.  Regardless  of  what  the  science  of  chemistry  has  taught  us, 
the  greatest  cleaning  agent  known  to  the  world  is  water.  Without  its 
use  it  would  be  impossible  to  keep  our  clothing  in  a  condition  suitable 
for  wear.  Although  the  use  of  hot  water  and  soap  is  familiar  to 
everyone,  you  will  find  it  extremely  interesting  to  talk  with  your 
mother  relative  to  the  treatment  of  different  kinds  of  clothing  in  the 
laundering  process. 

LAUNDERING  COTTON  OR  LINEN. 

The  matter  of  laundry  may  seem  perfectly  simple  when  you  see 
the  great  basket  of  clothing  going  to  the  weekly  wash,  however,  if 
you  will  ask  a  few  questions  you  will  probably  find  that  certain 
garments  require  special  treatment.  The  process  of  laundering  ordi- 
nary cotton  material  is  perhaps  the  most  simple.  Cotton  will  stand 
almost  any  amount  of  hot  water  and  soap.  It  is  not  damaged  by 
boiling  soap  suds,  in  fact  the  boiling  of  white  clothes  has  been  a 
standard  process  for  many  years  in  home  laundering. 

LAUNDERING  COLORED  GARMENTS. 

Colored  garments  should  not  be  laundered  in  the  same  water 
with  the  white  clothes;  they  must  be  carefully  treated  to  avoid  fading 
or  otherwise  changing  the  colors.  The  treatment  of  delicate  colors  is 
too  technical  for  this  discussion;  it  requires  an  understanding  of  the 
chemical  nature  of  dye  materials  to  be  able  to  prevent  fading  in  some 
of  them.  Different  substances,  or  mordants  as  they  are  called,  are 
used  to  "set"  or  fix  the  colors  so  they  will  not  fade.  There  are  a 


363 

number  of  chemicals  used  for  this  purpose,  but  they  are  not  com- 
monly applied  in  the  home  laundry. 

Common  table  salt  dissolved  in  water  is  often  successfully  used 
to  set  the  color  in  a  new  wash  garment  before  putting  it  through  the 
regular  laundry  process.  Colored  clothes  should  be  dried  in  the  shade 
for  if  exposed  to  the  bright  sunlight  while  drying  there  is  great 
danger  of  the  color  being  faded. 

LAUNDERING  WOOL. 

Wool  is  much  more  sensitive  than  cotton  and  for  that  reason  wool 
garments  can  not  undergo  the  same  process  of  laundering  through 
which  the  cotton  materials  are  taken.  On  account  of  its  peculiar 
scaly  surfaced  fibers,  wool  has  a  tendency  to  "felt,"  as  has  been  ex- 
plained elsewhere  in  this  text.  Extremely  high  or  low  temperature 
or  strong  alkali  will  bring  about  this  felting  process  and  thus  destroy 
much  of  the  soft  elastic  nature  of  wool.  If  an  all-wool  garment  such 
as  a  sweater  is  wrung  and  twisted,  in  the  manner  in  which  cotton 
clothes  are  handled,  there  is  great  danger  of  giving  it  a  hardened 
almost  board-like  nature.  If  such  a  woolen  garment  is  hung  out  of 
doors  on  a  very  cold  day,  or  if  it  is  washed  in  strong  alkali  soap,  or 
dipped  in  boiling  water,  or  pressed  with  an  extremely  hot  iron,  the 
results  will  be  very  similar  to  those  mentioned  above.  It  is  therefore 
recommended  that  wool  be  washed  in  moderately  warm  soft  water 
with  especially  prepared  wool  soap  (free  from  strong  alkali).  It 
should  not  be  wrung,  but  the  surplus  water  should  be  pressed  out  of 
it.  It  should  then  be  hung  in  a  room  of  moderate  temperature  and 
allowed  to  dry  slowly.  After  such  treatment  wool  garments  will  be 
soft,  fluffy  and  elastic  like  new. 

REMOVING  SPOTS  AND  STAINS. 

The  matter  of  removing  spots,  stains  and  various  discolorations 
from  garments  is  an  extremely  difficult  one.  In  order  to  advise  as  to 
how  a  spot  may  be  removed,  it  is  necessary  to  know  what  caused  the 
spot  and  also  to  understand  the  nature  of  the  cloth.  (Give  the  spot 
a  hard  brushing  with  a  stiff  brush  to  remove  all  dust  and  loose  dirt). 
Where  the  nature  of  the  spot  is  not  definitely  known  it  is  a  pretty 
good  plan  first  to  try  moderately  warm  soft  water  and  a  mild  wool 
soap.  (Ivory  soap  has  been  recommended  for  this  purpose).  It  is 
a  good  plan  to  place  a  clean  white  blotter  under  the  spot,  this  will 
absorb  the  moisture;  then  work  from  the  outside  of  the  spot  toward 
the  center  in  order  to  avoid  spreading  it  and  making  an  ugly  circle 
around  the  original  spot.  This  in  fact  is  the  most  difficult  portion 


364 

of  the  work  for  unless  the  cleaning  is  carefully  done  the  spot  may 
be  enlarged.  If  working  on  white  material  use  a  piece  of  white  cloth 
to  do  the  rubbing;  if  working  on  dark  material  a  piece  of  dark  cloth 
may  be  used.  Select  for  this  rubbing  process  some  kind  of  cloth 
which  will  not  leave  lint.  It  is  best  to  use  water  rather  sparingly, 
but  to  use  the  soap  freely;  the  soap  can  be  gradually  worked  out  of  the 
material  by  continuing  the  rubbing  with  a  clean  rag  and  more  water. 

If  soap  and  water  will  not  remove  the  spot  some  other  method 
must  be  tried.  A  number  of  different  liquid  preparations  have  been 
made  for  the  purpose  of  removing  spots,  particularly  from  the  finer 
materials  like  the  worsteds  and  the  woolens.  There  is,  however,  no 
liquid  which  can  be  recommended  for  all  kinds  of  materials  and  all 
kinds  of  spots,  as  has  been  previously  explained.  If  the  spot  is 
caused  by  grease  of  some  kind,  it  can  usually  be  removed  with  the 
soap  and  water  process,  or  with  gasoline. 

Another  liquid  which  is  highly  recommended,  and  is  used  by 
tailors,  is  a  mixture  of  equal  parts  of  ether,  ammonia  and  (grain) 
alcohol.  It  should  be  mixed  in  a  bottle  so  it  can  be  well  shaken 
before  using.  As  it  evaporates  rapidly,  it  should  be  tightly  corked 
wrhen  not  in  use. 

Before  applying  this  liquid  to  a  spot  on  a  fine  garment  first  try 
a  little  of  it  on  the  wrong  side  on  the  surplus  material  in  a  seam,  in 
order  to  determine  whether  the  liquid  will  damage  the  color  of  the 
goods.  It  is  never  safe  to  apply  any  cleaning  fluid  on  the  right  side 
of  a  fine  garment  until  after  you  have  tested  it.  There  may  be  some 
chemical  with  which  the  cloth  was  colored  that  will  be  destroyed  by 
the  cleaning  fluid,  thus  making  a  worse  spot  than  the  original.  Apply 
the  cleaning  fluid  in  the  manner  described  for  the  use  of  water 
and  soap. 

Tailors  who  have  a  great  deal  of  cleaning  to  do  make  a  con- 
venient rubbing  rag  or  "spotter"  by  rolling  a  strip  of  woolen  cloth 
about  2y2"  or  3"  wide  into  a  tight  roll  and  tying  it.  The  ends  of  the 
roll  furnish  an  excellent  rubbing  rag  because  it  will  absorb  the  dirt 
as  it  is  dissolved  by  the  cleaning  fluid.  Sometimes  a  small  stiff  brush 
is  used  to  rub  a  spot.  A  brush  is  particularly  serviceable  if  the  spot 
is  on  a  coarsely  woven  material.  The  three-part  cleaning  fluid  rec- 
ommended here  will  be  serviceable  not  only  in  removing  grease  but 
also  in  dealing  with  a  great  many  spots  which  can  not  be  removed  by 
gasoline.  It  is  superior  to  gasoline  because  it  will  also  remove  dirt, 
carbon  dust,  and  other  impurities  which  may  be  contained  in  the 
grease.  Gasoline  is  effective  only  on  grease  or  oily  substances. 


365 

CAUTION. 

In  using  gasoline  or,  in  fact,  any  kind  of  cleaning  liquid  great 
care  must  be  exercised  to  avoid  explosions.  Cleaning  should  never 
be  done  near  a  fire  or  a  lighted  lamp.  In  fact  if  the  room  is  closed 
there  should  be  no  fire  or  lamp  even  in  the  same  room  where  the 
cleaning  is  being  done.  You  should  never  attempt  to  dry  the  ma- 
terial or  your  hands  over  a  fire  if  they  are  moist  with  cleaning  lluid. 
Gasoline,  and  in  fact  all  cleaning  fluids,  are  very  inflammable  and  the 
greatest  precaution  must  be  used. 

It  is  sometimes  necessary  to  clean  an  entire  garment,  such  as 
a  silk  waist,  or  a  thin  dainty  wrap.  This  can  be  done  by  washing  the 
entire  garment  in  a  vessel  of  gasoline  allowing  it  to  soak  long  enough 
to  remove  grease  spots.  Sometimes  when  an  entire  garment  is  to  be 
wet  it  is  well  to  mark  the  worst  spots  by  sewing  around  them  with 
a  basting  thread;  this  will  enable  one  to  select  the  spots  when  the 
garment  is  wet  and  give  them  special  attention.  A  garment  so  washed 
in  gasoline  should  be  dried  in  the  open  air.  In  fact  to  avoid  danger, 
all  of  this  work  should  be  done  out  of  doors,  if  possible.  The  odor 
of  gasoline  will  soon  leave  the  garment  if  it  is  left  in  the  fresh  air. 
It  is  not  advisable  for  inexperienced  cleaners  to  attempt  to  wash  a 
large  padded  garment  such  as  a  coat  or  overcoat  in  gasoline;  it  is 
better  to  deal  simply  with  the  soiled  spots  as  previously  explained. 

Gasoline  in  which  a  garment  has  been  cleaned  may  be  poured 
into  a  tight  fitting  vessel  such  as  a  fruit  jar  or  jug  and  kept  for  future 
use.  The  dirt  and  impurities  washed  out  of  the  garment  will  soon 
settle  to  the  bottom  of  the  gasoline;  the  clean  liquid  can  then  be 
poured  off  and  used  again. 

A  FEW  OF  THE  MOST  COMMON  STAINS  AND  THEIR  TREAT- 
MENT,  ALPHABETICALLY   ARRANGED. 

1.  Blood  Stains.     Blood  stains  can  usually  be  removed  by  wet- 
ting with  cold  water,  afterwards  washing  with  luke  warm  water  and 
soap.     The  addition  of  a  little  ammonia  will  assist.     Hydrogen  Per- 
oxide to  which  a  few  drops  of  ammonia  have  been  added  will  remove 
blood  stains  readily. 

2.  Chocolate  and  Cocoa  Stains.     Rub  the  spot  with  borax  and 
soap,  wash  in  cold  water. 

3.  Coffee  Stains.    From  ordinary  wash  goods  spots  of  coffee  and 
tea  may  be  removed  by  pouring  boiling  water  through  the  stained 
spots,  afterwards  washing  with  soap.    If  this  does  not  prove  effective, 
gasoline  may  be  used  to  dissolve  the  stain.    A  few  drops  of  ammonia 
added  to  the  gasoline  will  make  it  more  effective,  if  the  color  of  the 


366 

garment  will  permit  the  action  of  ammonia.  When  the  spot  is  com- 
pletely absorbed  the  gasoline  may  be  washed  out  writh  warm  soapy 
water.  Washing  soda  will  often  prove  effective  in  removing  stains  of 
tea  and  coffee. 

4.  Fruit  Stains.     Most  fruit  stains  can  be  removed  from  white 
material  by  the  application  of  boiling  water.     Peach  stain  is  not  so 
easily  removed  as  other  fruit  stains.     It  will  generally  require  some 
sort  of  bleaching  process.    Stretch  the  fabric  tightly  over  a  bowl  and 
pour  the  boiling  water  through  it,  allowing  the  water  to  fall  from  some 
distance.      Hydrogen    Peroxide    with    a    little    ammonia    added   will 
usually  be  effective.     A  little  powdered  borax  rubbed  on  the  stain 
\vhen  boiling  water  is  being  poured  through  wrill  also  assist  in  re- 
moving most  fruit  stains.     If  the  stain  is  on  an  expensive  colored 
garment  it  is  safer  to  send  it  to  a  professional  cleaner. 

5.  Grass  Stains.    Grass  stains  can  usually  be  dissolved  with  milk. 
If  this  is  not  effective  try  alcohol  or  ammonia.     Hydrogen  Peroxide 
with  the  addition  of  a  few  drops  of  ammonia  wrill  be  effective,  al- 
though it  should  be  carefully  tested  before  applying  to  a  fine  garment 
of  dainty  color. 

6.  Ink.     Ink  spots  are  extremely  difficult  to  remove  due  to  the 
fact  that  so  many  different  chemicals  are  used  in  the  composition  ot 
ink.     If  one  could  know  exactly  of  what  the  ink  was  composed,  it 
would  not  be  difficult  to  remove  it.    Most  ink  removers  are  so  strong 
that  they  also  remove  the  other  color  from  the  material.     As  most 
ink  contains  acid  it  can  often  be  dissolved  by  application  of  an  acid 
of  some  sort.    Lemon  juice  and  salt  will  usually  be  effective.    Strong 
sour  milk  mil  sometimes  give  good  results.     If  these  remedies  fail 
and  if  the  garment  is  a  very  expensive  one  it  should  be  entrusted 
only  to  the  professional  cleaner. 

7.  Iron  Rust.     Iron  rust  is  a  very  common  stain,  but  can  be 
easily  removed  with  acid.    Hydrochloric  (Muriatic)  acid  is  most  fre- 
quently used.    A  fewr  drops  of  acid  can  be  dropped  on  the  spot  with 
a  medicine  dropper  or  applied  with  a  glass  tube.    The  acid  should  be 
applied  and  the  spot  rinsed  in  water.    This  process  should  be  repeated 
over  and  over  until  the  spot  disappears.     The  repeated  dopping  is 
very  much  better  than  allowing  it  to  soak  in  the  acid. 

8.  Mildew.     Mildew  can  usually  be  removed  by  dampening  the 
spot  repeatedly  and  exposing  it  to  strong  sunlight.    It  may  be  neces- 
sary to  use  some  soap  solution  in  washing  the  spot.    Sour  milk,  which 
contains  considerable  acid,  is  also  effective  in  removing  moulds  and 
mildew  stains. 

9.  Milk  Spots.     Cold  water  and  pure  white  soap  will  most  gen- 
erally remove  a  milk  spot.    If  this  is  not  effective  apply  glycerine  and 


367 

rub  it  with  a  stiff  brush.  When  thoroughly  soaked,  wash  it  carefully 
with  luke  warm  water  and  soap.  Any  stain  made  by  milk  or  anything 
containing  considerable  protein  should  be  treated  with  warm  or  luke 
warm  water  and  soap.  (A  protein  stain  should  not  be  cleaned  with 
boiling  water.)  If  stains  caused  by  different  fruit  juices  can  not  be 
removed  by  luke  warm  water  they  should  be  treated  with  boiling 
water. 

10.  Oil.     Oil  stain  may  generally  be  removed  by  washing  with 
cold  water  and  plenty  of  soap;  as  it  is  a  protein  stain  it  should  not 
be   treated   with  boiling  water   until   after   it   has   been  thoroughly 
washed.    If  the  soap  is  not  effective  the  spot  might  be  saturated  with 
kerosene  and  allowed  to  soak.     This  will  usually  be  effective. 

11.  Paint.     Paint  or  varnish  are  usually  rather  difficult  to  re- 
move.    If  the  stain  is  taken  when  fresh  it  may  usually  be  removed 
by  dissolving  with  turpentine  or  gasoline.    Either  of  these  treatments 
will  dissolve  the  oil  and  the  colored  matter  can  be  brushed  out  when 
dry.    After  a  paint  stain  has  become  thoroughly  dry  it  is  very  diffi- 
cult to  remove  and  probably  should  be  undertaken  only  by  a  pro- 
fessional. 

12.  Scorch.     A  scorched  spot  can  be  removed  by  dampening  it 
and  exposing  it  to  bright  sunlight.    Of  course  the  scorched  spot  can 
be  removed  only  when  it  is  very  slight  and  the  fiber  of  the  goods  is  not 
seriously  burned.    There  is  no  remedy  if  the  material  is  badly  burned. 

13.  Tea  Stains.    See  No.  3  and  follow  same  method. 

14.  Unknown  Stains.     The  treatment  of  unknown  stains  is  nec- 
essarily a  matter  of  experimenting.    One  should  try  only  the  milder 
remedies  first  in  order  to  avoid  damaging  the  goods.     A  great  many 
stains  can  be  readily  removed  by  being  moistened  and  exposed  to 
sunlight.     This  bleaching  process  should  be  used  wherever  possible 
for  it  is  both  cheap  and  safe.    Never  attempt  to  remove  an  unknown 
stain  with  a  remover   which  is   likely  to   damage  the   color  of  the 
garment,  until  the  remover  has  been  tested  to  make  sure  that  it  is 
perfectly  safe. 

15.  Varnish.    See  No.  11  and  follow  same  method. 

PRESSING. 

Everyone  is  more  or  less  familiar  with  the  simple  processes  of 
ironing  clothes  for  the  purpose  of  making  the  surface  smooth  and 
attractive.  While  there  is  much  that  can  be  said  regarding  the 
treatment  of  different  fabrics  in  ironing,  yet  most  of  this  information 
can  be  acquired  by  talking  with  your  mothers  at  home. 

The  subject  of  pressing  garments  is  very  important.    As  the  term 


368 

is  generally  used  it  refers  not  to  the  common  process  of  ironing 
connected  with  laundry  work,  but  to  the  process  of  dealing  with 
woolen  and  worsteds  and  other  fine  fabrics  to  bring  them  back  to 
their  original  shape  and  appearance  when  new.  In  order  to  under- 
stand the  matter  of  clothes  pressing,  it  is  well  to  think  of  the  processes 
through  which  the  woolen  goods  are  taken  at  the  factory.  There  are 
a  great  many  different  treatments  given  to  fine  fabrics  to  produce 
special  finishes,  but  most  of  them  include  dampening  the  cloth  (usu- 
ally with  steam)  in  order  to  soften  the  woolen  fibers  and  make  them 
perfectly  pliable.  The  cloth  is  then  stretched  straight  and  smootli 
and  held  in  this  position  until  it  becomes  thoroughly  dry.  Different 
special  finishes  are  also  given  whatever  treatment  is  necessary  to 
bring  about  the  desired  effects.  Woolen  material  so  dampened, 
stretched,  and  dried  will  retain  its  shape  and  smoothness  for  a  long 
time. 

In  order  to  do  home  pressing  properly,  woolen  materials  must 
be  taken  through  pretty  much  this  same  kind  of  treatment.  As  it  is 
not  convenient  to  steam  a  garment  before  pressing  it,  a  simple  way  of 
getting  the  same  results  has  been  devised. 

GENERAL  SUGGESTIONS  FOR  PRESSING. 

Before  beginning  the  actual  pressing  work  on  any  garment  all 
loose  dust  and  dirt  must  be  brushed  out  of  the  cloth,  spots  and  stains 
must  be  completely  removed  by  some  of  the  methods  already  de- 
scribed. If  dust  and  dirt  are  left  in  the  material  the  steaming  process 
may  cause  the  cloth  to  look  dingy. 

Sometimes  a  garment  has  a  shiny  appearance  which  needs  to  be 
removed.  There  are  a  great  many  ways  in  which  this  can  be  dealt 
with.  A  hard  brushing  with  a  stiff  brush  will  often  prove  effective. 
Sometimes  it  wrill  be  necessary  to  rub  the  spot  lightly  with  very  fine 
sand  paper,  other  times  such  an  effect  can  be  removed  by  sponging 
the  spots  before  finishing  the  pressing. 

Any  garments  to  be  pressed  should  be  laid  perfectly  straight 
and  smooth  in  the  desired  shape.  Pressing  is  sometimes  done  directly 
on  the  wrong  side  of  material,  this,  however,  is  not  a  good  practice 
for  beginners.  You  should  work  on  the  right  side  according  to  the 
following  directions. 

A  piece  of  wret  cloth  (a  soft  well  worn  piece  of  canvas  or  un- 
bleached muslin  is  satisfactory)  should  be  placed  smoothly  over  the 
garment.  This  wet  cloth  should  be  covered  with  another  perfectly 
dry  piece  of  heavy  material  (a  piece  of  canvas  would  be  suitable  for 
this  purpose).  The  hot  iron  is  then  applied  to  the  dry  cloth.  The 


369 

heat  of  the  iron  produces  steam  from  the  wet  cloth  and  causes  it  to 
pass  into  the  garment  which  is  being  pressed.  The  dry  cloth  on  the 
top  serves  to  hold  the  steam  and  thus  forces  it  into  the  garment.  In 
order  to  prevent  wrinkling  it  is  well  to  press  with  a  straight  downward 
pressure,  as  much  as  possible,  rather  than  with  a  rubbing  motion. 
The  pressing  cloths  should  be  removed,  and  while  the  garment  is 
soft  and  pliable  from  the  dampness  of  the  steam,  it  should  be 
stretched,  smoothed,  or  pulled  into  its  proper  shape.  This  is  par- 
ticularly true  in  pressing  garments  like  men's  trousers  or  a  skirt 
which  may  be  considerably  out  of  shape.  The  damp  cloth  should  be 
again  applied  and  covered  with  a  dry  one;  the  pressing  should  con- 
tinue either  until  the  damp  cloth  is  perfectly  dry,  or  the  damp  one 
may  be  removed  and  the  final  pressing  done  with  the  dry  one  alone. 
The  pressing  should  be  continued  until  the  garment  is  perfectly  dry. 
The  most  important  point  is  to  make  sure  that  the  garment  is 
absolutely  dry  before  the  pressing  ceases.  If  a  garment  is  left  damp, 
all  the  tiny  fibers  of  the  wool  being  soft  and  pliable,  it  will  not  hold 
its  shape  long.  However,  if  the  pressing  is  done  until  the  material 
is  absolutely  dry,  the  garment  will  remain  in  fine  condition  for  a 
long  while. 

PRESSING  EQUIPMENT. 


Home    Pressing    Outfit. 


370 

No  special  equipment  is  required  to  do  home  pressing.  The 
work  may  be  done  on  an  ordinary  ironing  board,  although  a  table 
will  usually  be  found  more  convenient.  If  a  table  is  used  it  should  be 
protected  with  several  thicknesses  of  cloth  or  blanket  covered  with  a 
piece  of  muslin.  It  should  be  of  sufficient  thickness  to  form  a  pad. 
The  accompanying  illustration  shows  the  work  being  done  on  an 
ordinary  kitchen  table.  You  will  notice  that  a  very  large  iron  is  used. 
Such  a  large  heavy  iron  is  particularly  desirable,  however,  if  you 
do  not  have  one  the  small  flat  iron  with  which  the  family  ironing 
is  done  will  be  satisfactory. 

A  good  stiff  clothes  brush,  a  brush  broom,  a  bottle  of  cleaning 
liquid  and  a  pan  of  water  constitute  about  all  the  equipment  neces- 
sary. On  the  rear  of  the  table  in  this  illustration  you  will  see  a  press- 
ing board.  This  is  especially  desirable  in  pressing  garments  like  coats 
and  vests  for  it  is  convenient  in  working  around  the  shoulders,  the 
collars  and  the  sleeves  as  explained  in  a  following  illustration.  For 
the  pressing  cloth  you  should  be  provided  with  a  large  piece  of  heavy 
unbleached  muslin  or  a  piece  of  toweling  may  be  used. 

TO  PRESS  A  PAIR  OF  TROUSERS. 

Trousers  are  not  difficult  to  press.  They  should  first  be  carefully 
cleaned  as  already  explained.  One  leg  should  be  pressed  at  a  time,  the 
other  being  folded  back  out  of  the  way.  It  is  usually  found  more 
convenient  to  press  the  inside  of  the  leg  first  then  turn  it  over  and 
press  the  opposite  side  of  the  same  leg,  always  keeping  the  other  leg 
folded  back  out  of  the  way.  Trouser  legs  should  be  so  pressed  that 
the  inside  and  the  outside  seams  come  together.  This  will  make  a 
straight  crease  down  the  front  and  also  down  the  back  of  each  leg. 
Trouser  legs  should  be  pulled  perfectly  straight  to  remove  the  full- 
ness or  bagging  tendency  at  the  knee. 

Lay  the  trousers  flat  on  the  table  making  sure  that  the  seams  are 
placed  as  above  described.  Wet  one  of  the  pressing  cloths  and  lay  it 
smoothly  over  this  leg.  Lay  a  dry  pressing  cloth  over  the  wet  one  and 
apply  the  hot  iron.  It  is  well  to  remove  both  cloths  and  pull  the  leg 
straight  and  see  that  the  seams  are  properly  placed  before  completing 
the  pressing.  The  material  will  be  found  very  soft  and  pliable  after 
the  steam  from  the  cloth  has  entered  it.  After  getting  a  leg  properly 
shaped  and  all  wrinkles  smoothed  out,  lay  the  pressing  cloth  again  in 
position  and  continue  the  pressing. 

The  damp  cloth  may  be  removed  and  the  work  completed  work- 
ing with  a  dry  cloth  alone.  Carefully  turn  the  trouser  leg  over  and 
press  the  opposite  side  of  the  same  leg.  The  second  leg  should  be 


371 


pressed  exactly  like  the  first.    Do  not  forget  to  continue  pressing  until 
the  garment  is  perfectly  dry. 

PRESSING  A  VEST. 

A  vest  is  a  very  easy  garment  to  press.  It  should  be  pressed  on  a 
pressing  board  in  the  manner  shown  in  the  illustration.  If  you  do  not 
have  such  a  pressing  board,  it  may  be  pressed  on  the  corner  of  the 
table  in  a  satisfactory  manner.  The  process  of  pressing  with  one  wet 
and  one  dry  pressing  cloth  is  the  same  as  pressing  the  trousers. 

PRESSING  A   COAT. 


A  coat  is  much 
more  difficult  t  o 
press  because  of  its 
irregular  shape  and 
heavy  padding.  A 
beginner  should 
not  undertake  to 
press  a  coat,  but 
should  practice  on 
some  of  the  easier 
garments  such  as 
trousers,  skirts  or 
a  vest.  The  accom- 
panying illustration 
shows  the  position 


Position  for  Pressing  Lapel. 


Position  for  Pressing  Back. 


of  the  coat  on  the 
board  ready  for  the 
lapel  and  the  front 
to  be  pressed.  The 
coat  is  then  shifted 
about  on  the  board 
to  convenient  posi- 
tions for  pressing 
the  other  parts. 

The  next  illustra- 
tion shows  the  pos- 
ition of  the  coat 
ready  for  the  back 
to  be  pressed.  A 
little  experimenting 
and  practice  will 
enable  you  to  find 


372 

a  position  in  which  you  can  press  the  different  parts  of  the  coat  very 
satisfactorily.  As  a  coat  is  heavier  on  account  of  the  padding,  it  will 
require  more  time  to  press  it  thoroughly  dry.  All  the  while  you  are 
pressing  a  fine  garment  it  is  well  to  keep  in  mind  the  fact  that  it  is 
very  valuable  and  that  a  litle  carelessness  might  ruin  it  by  scorching. 

You  will  find  the  pressing  of  clothing  very  interesting  and  it 
will  be  well  worth  your  while  to  practice  it  in  your  home. 

A  moderately  expensive  suit  of  clothes  kept  clean  and  well 
pressed  always  gives  a  much  better  appearance  than  a  very  expensive 
suit  which  is  more  or  less  soiled  and  neglected.  Much  can  be  added 
to  the  life  of  a  suit  by  the  careful  cleaning  and  pressing  explained 
in  this  chapter. 

TO  PRESS  A  WOOL  DRESS. 

The  dress  should  be  thoroughly  dusted  and  all  spots  removed 
before  pressing.  To  press  a  plain  skirt,  lay  it  over  the  ironing  board, 
with  the  bottom  of  the  skirt  on  the  wdde  end  of  the  board;  stretch 
it  smooth  and  place  a  piece  of  cloth  wrung  out  of  water  over  the 
skirt.  Cover  this  piece  with  a  dry  piece  of  heavy  cotton  material  (the 
second  cloth  may  be  omitted  but  the  pressing  is  more  easily  done 
with  it).  Apply  a  hot  iron  with  a  straight  downward  pressure;  iron 
until  the  skirt  is  well  steamed,  then  remove  the  wet  cloth  and  iron 
on  the  dry  one  until  the  material  is  dry.  Continue  this  process  until 
the  entire  skirt  is  pressed. 

Before  pressing  a  pleated  skirt,  baste  the  pleats  in  proper  posi- 
tion, or  stretch  the  skirt  on  the  ironing  board  until  the  pleats  are 
straight  and  pin  them  at  the  bottom.  If  the  pleats  are  not  basted, 
straighten  and  pin  them  as  you  continue  to  press  the  skirt. 

A  wool  waist  is  usually  pressed  on  the  wrong  side;  it  is  dam- 
pened by  rubbing  a  wet  cloth  over  the  wrong  side  of  the  material. 
(Be  very  careful  not  to  scorch  the  material).  In  pressing  a  sleeve 
where  no  crease  is  desired  turn  it  wrong  side  out,  dampen  by  rubbing 
with  wret  cloth  and  press  it  over  a  magazine  which  has  been  rolled 
and  slipped  inside  of  the  sleeve. 

TO  PRESS  A  SILK  GARMENT. 

Silk  is  very  susceptible  to  heat;  therefore,  in  pressing  silk  gar- 
ments care  should  always  be  taken  to  see  that  the  iron  is  warm, 
rather  than  hot.  Turn  the  garment  wrong  side  out,  and  if  necessary 
dampen  it  by  rubbing  a  slightly  dampened  cloth  over  its  surface,  then 
press  with  a  warm  iron. 

Wash  silks  and  ribbons  when  washed  should  be  rolled  in  a 
towel  and  allowed  to  remain  there  a  wThile  to  remove  the  excess  of 


373 

moisture;  then  they  may  be  ironed  by  placing  a  cloth  over  them  and 
pressing  until  the  silk  is  partly  dry,  then  remove  the  cloth,  turn 
wrong  side  out  and  iron  until  perfectly  dry. 

You  should  experiment  on  some  of  your  older  and  cheaper 
garments  until  you  have  become  sufficiently  acquainted  with  the 
methods  of  cleaning  and  pressing  clothes  to  enable  you  to  take  good 
care  of  your  garments;  you  can  thus  not  only  saye  considerable  ex- 
pense in  matters  of  wearing  apparel,  but  you  will  also  convey  the 
impression  of  carefulness  and  good  taste  in  dress. 


374 
CHAPTER  IV 

PATTERNS  AND  PATTERN  DRAFTING 

GENERAL  DISCUSSION. 

JUST  how  much  should  be  undertaken  in  the  matter  of  pattern 
drafting  in  public  school  work  has  been  a  question  of  consider- 
able discussion.  There  is  no  doubt  that  the  technical  considera- 
tion of  the  subject  belongs  to  the  vocational  school;  as  it  is  usually 
taught  it  has  little  or  no  place  in  the  average  secondary  or  elementary 
school.  This  is  the  decision  of  most  educators  who  have  given  the 
subject  much  thought.  Their  opinions  have  probably  been  formed 
largely  on  account  of  the  manner  in  which  the  subject  of  pattern 
drafting  has  been  presented.  Too  often  the  subject  is  approached 
with  only  one  idea  in  mind,  that  of  producing  the  most  satisfactory 
pattern  for  a  particular  garment,  with  but  little  consideration  of  the 
underlying  principle  by  which  the  pattern  is  constructed.  In  such 
teaching  the  making  of  the  pattern  is  the  desired  end  in  itself 
rather  than  merely  a  means. 

A  great  many  patent  methods  have  been  devised  for  the  laying 
out  of  patterns.  They  are  accompanied  by  their  own  rules,  squares, 
angles,  and  peculiar  instruments  for  the  development  of  curves,  pro- 
portions, etc.  Such  purely  mechanical  effort  is  out  of  place  in  edu- 
cational work.  It  is  not  desirable  that  the  public  schools  should 
undertake  to  do  much  in  pattern  drafting  as  a  professional  subject. 
There  are,  however,  a  few  points  which  can  be  intelligently  ap- 
proached and  which,  for  that  reason,  should  not  be  ignored. 

Students  who  are  studying  sewing  to  the  extent  of  garment 
making  should  certainly  understand  taking  measures  and  applying 
those  measures  in  laying  out  and  constructing  simple  patterns. 

In  presenting  the  subject  of  pattern  drafting  and  garment  making 
there  is  always  one  almost  insurmountable  difficulty.  With  each 
change  of  season  and,  in  fact,  even  oftener  the  styles  vary  so  much 
that  the  particular  cuts  and  proportions  w7hich  were  considered  good 
taste  at  one  period  are  soon  cast  aside  as  out  of  style. 

Throughout  this  text  it  is  the  purpose  not  to  cater  to  particular 
styles  and  fancies,  but  to  present  only  fundamental  principles  which 
should  form  the  basis  of  all  styles.  The  human  form  is  the  same 
from  generation  to  generation  and  therefore  the  essential  principles 
involved  in  fitting  the  human  form  do  not  vary  materially.  These  are 
the  ideas  which  this  discussion  in  pattern  drafting  attempts  to  present. 
Care  has  been  exercised  to  avoid  any  hard-and-fast  set  of  rules  to  be 


375 

followed  mechanically  for  such  procedure  fails  to  develop  inde- 
pendence of  thought  and  judgment  which  should  be  brought  to  bear 
in  every  step.  Pattern  drafting  will  thus  be  treated  not  as  an  end  in 
itself,  but  as  a  means  toward  a  clear  comprehension  of  the  art  of 
making  garments. 

Skillful  dressmakers  do  not  rely  upon  some  memorized  set  of 
rules  for  drafting.  They  must  be  sufficiently  in  command  of  the 
subject  to  be  able  to  make  their  own  patterns  intelligently,  or  to  use 
commercially  prepared  patterns  and  to  alter  them  and  adapt  them 
to  the  figure  at  hand  and  to  the  particular  style  to  be  presented.  In  set- 
ing  forth  any  single  set  of  rules  for  pattern  drafting  there  is  great 
danger  of  enslaving  the  student  to  the  mere  detail  of  the  system 
rather  than  to  give  that  student  a  broad  conception  of  the  function 
of  the  work  which  is  necessary  to  the  development  of  independent 
thinking.  If  a  student  develops  a  keenness  of  taste  and  appreciation, 
learns  how  to  utilize  commercial  patterns,  and  how  to  adapt  them 
to  different  figures  and  styles,  from  an  educational  standpoint  the 
work  must  certainly  be  pronounced  a  success. 

Freehand  drawing  is  exceptionally  beneficial  in  connection  with 
this  work.  Students  should  learn  to  draw  the  various  curves  incident 
to  pattern  construction  freehand  rather  than  to  attempt  to  follow 
definite  or  specific  rules.  After  all  it  is  a  matter  of  developing  the 
judgment  which  the  work  seeks  to  bring  about.  Any  little  girl  who 
has  ever  attempted  to  make  a  doll  dress  has  some  appreciation  of 
the  necessity  of  a  pattern.  In  fact  there  would  be  no  better  way  of 
impressing  the  general  function  of  patterns  than  to  drape  some  cheap 
material  or  paper  about  a  dress  form,  and  then  by  freehand  cutting 
remove  the  surplus  parts  and  develop  the  material  into  a  pattern 
which  could  be  satisfactorily  joined  into  a  fitting  garment.  The 
problem  of  fitting  the  human  form  neatly  and  gracefully  is  always 
the  problem  to  be  considered  when  patterns  are  being  developed. 

It  is  sometimes  thought  that  on  account  of  the  many  changes 
brought  about  by  styles  —  the  fact  that  sleeves  are  sometimes  large  at 
the  bottom  while  the  next  style  may  call  for  the  fullness  at  the  top  — 
the  skirts  are  sometimes  full  at  the  bottom  and  other  times  narrow  — 
would  make  it  impossible   to   present  any  definite   instructions   for 
drafting.     Such  is  not  the  case  for,  as  was  previously  set  forth,  the 
human  form  does  not  vary,  therefore,  the  foundation  plan  upon  which 
all  patterns  are  drafted  remains  identical.    The  commercial  companies 
that  prepare  patterns  are  able  to  use  their  foundations  to  develop 
whatever  patterns  are  required  to  meet  the  passing  styles. 

In  this  discussion  an  effort  is  made  to  present  a  simple  straight 


376 

line  method  whereby  patterns  for  typical  garments  may  be  dratted. 
There  are  really  only  a  very  few  general  types  or  shapes  of  garments ; 
for  illustration,  the  waist  represents  the  fundamental  principles  from 
which  an  almost  innumerable  host  of  modified  garments  have  been 
devised;  the  variation  in  shapes  of  necks,  collars,  sleeves,  shoulders, 
etc.,  etc.,  are  but  minor  points  in  the  art  of  waist  making;  the  scientific 
principles  —  the  foundation  elements  of  the  garment  — are  scarcely 
disturbed.  For  illustration,  the  pattern  of  the  tailored  waist  makes 
no  effort  to  follow  any  set  style,  for  it  can  readily  be  appreciated  that 
this  drafting  could  not  change  from  time  to  time  so  as  to  keep  in 
line  with  the  small  variations  in  details  which  may  be  brought  about  in 
those  garments.  Definite  instructions  are,  therefore,  given  for  making 
a  foundation  waist  pattern,  and  suggestions  are  offered  showing  how 
this  foundation  pattern  may  be  altered  to  meet  the  variations  of  style. 

The  standard  skirt  is  the  type  from  which  almost  unlimited 
modifications  are  developed  to  suit  the  dictates  of  fancy;  petticoats, 
under  skirts,  princess  slips  and  all  their  kindred  are  outgrowths  of 
the  one  foundation. 

A  skirt  pattern  is,  therefore,  presented  in  a  manner  similar  to  the 
waist  pattern.  Whether  a  skirt  should  be  made  of  five,  seven  or  any 
number  of  gores  is  a  matter  to  be  dictated  by  fashion,  but  the  founda- 
tion principles  upon  which  this  skirt  is  constructed  do  not  vary, 
therefore,  in  this  discussion,  directions  are  given  for  the  drawing  of  a 
foundation  skirt  pattern.  It  can  then  be  constructed  of  any  number 
of  gores,  and  made  with  any  other  minor  details  which  fashion  may 
dictate  without  violating  any  of  the  principles  herein  presented. 

In  each  type  garment  presented  in  this  chapter,  an  effort  is  made 
to  carry  out  this  same  idea.  From  these  type  garments  practically 
all  of  the  common  garments  can  be  developed;  this  is  explained  some- 
what in  detail  in  connection  with  the  presentation  of  each  type  pattern. 

EQUIPMENT  FOR  DRAFTING. 

For  drafting  patterns  according  to  the  straight  line  method  you 
should  have  the  following  equipment:  one  yard  stick,  pencil,  tape 
measure,  ruler,  drafting  paper  (Manilla  wrapping  paper  30"  to  36" 
wide;  the  wide  paper  is  more  desirable). 

TAKING  MEASUREMENTS  FOR  A  FOUNDATION  SHIRT  WAIST 

PATTERN. 

The  success  of  your  pattern  drafting  will  depend  very  greatly 
on  the  accuracy  of  your  measurements.  The  measurements  may  be 


377 

taken  over  a  thin  waist,  preferably  with  set-in  sleeves.  It  is  difficult 
to  take  the  measurements  accurately  over  a  waist  made  with  kimono 
sleeves,  but  if  such  a  waist  is  worn  when  measurements  are  taken 
the  shoulder  seam  and  armhole  should  be  indicated  with  a  row  of 
pins.  Locate  waist  line  by  pinning  a  piece  of  tape,  or  a  tape  measure 
around  the  waist. 

The  following  measurements  are  necessary  in  order  to  draft  the 
shirt  waist  pattern  illustrated: 

Neck.     A  close  measurement  around  the  lower  part  of  the  neck. 

Shoulder.  The  measurement  from  the  base  of  the  neck  to  the 
end  of  the  shoulder. 

Depth  of  Armhole.  Locate  the  line  for  this  measurement  by 
pinning  a  tape  measure  around  the  body,  close  under  the  arms. 

For  front  depth  of  armhole,  measure  from  the  base  of  the  front 
of  the  neck  to  the  top  edge  of  the  tape  measure.  Be  careful  that  this 
measurement  is  not  too  long;  it  should  be  about  4"  to  5V2". 

For  the  back  measurement,  measure  from  bone  at  base  of  neck 
to  top  edge  of  tape  measure.  This  measurement  should  be  longer 
than  the  front  measurement. 

Bust.  An  easy  measurement  across  the  fullest  part  of  the  bust 
with  the  tape  measure  placed  about  \"  below  the  armhole  and  ele- 
vated slightly  in  the  back  (stand  behind  the  person  to  take  the 
measurement) ;  add  3"  for  fullness. 

The  Back  Bust.  Measurement  from  one  under-arm  seam  to  the 
other  across  the  back. 

The  Front  Bust.  The  difference  between  the  entire  bust  measure- 
ment and  the  back  bust  measurement. 

Under  Arm.  Measurement  from  close  under  the  arm  down  to  the 
waist  line  indicated  by  the  bottom  edge  of  the  tape  measure. 

Length  of  Front.  Measurements  from  base  of  neck  in  front  to 
waist  line  as  indicated  by  the  bottom  edge  of  the  tape  measure. 

The  Length  of  the  Back.  The  measurement  from  the  large  bone 
at  the  back  of  the  neck  to  the  waist  line  indicated  by  the  bottom  edge 
of  the  tape  measure. 

Width  of  Chest.  Measurement  made  2"  below  the  base  of  the 
neck  across  the  front  of  the  body  from  the  place  where  one  arm  joins 
the  body  to  the  same  place  on  the  other  side. 

Waist  Measure.    A  tight  measurement  around  the  waist. 


378 


DRAFTING  A  FOUNDATION  SHIRT  WAIST  PATTERN. 
THE  FRONT. 


W 


NOTE:  You  should  make 
a  careful  study  of  the  illus- 
tration given  here,  locating 
each  point  and  thinking 
through  every  operation  con- 
nected with  making  the  pat- 
tern. Most  students  who 
have  difficulty  in  drafting 
patterns  can  trace  their  un- 
satisfactory work  to  the 
habit  of  trying  to  follow 
directions  blindly,  without 
considering  the  reasons,  or 
exercising  judgment  in  the 
various  steps. 

You  will  also  find  it  very 
profitable  to  secure  a  plain 
waist  and  skirt  pattern  of 
any  reliable  pattern  company  and  study  them  piece  by  piece  until  you 
know  in  general  about  what  shaped  pieces  you  are  attempting  to  draft. 

As  this  pattern  is  drafted  for  only  one-half  the  waist,  you  will 
use  measurements  for  half  of  the  chest  and  half  of  the  front  bust 
in  drafting  it. 

For  construction  lines  draw  line  AB  2"  from  the  right-hand  edge 
of  the  paper;  draw  line  AC  at  right  angles  to  it. 

To  Draft  the  Neck.  To  lay  out  the  neck  at  the  shoulder,  measure 
2"  from  point  A  on  line  AC  and  locate  point  L;  to  lay  out  the  neck 
at  the  center  front,  measure  down  2"  from  point  A  on  line  AB  for  a 
neck  measuring  12"  (increase  this  measurement  1/s"  for  each  l/2rf 
increase  in  neck  measure,  for  instance  for  a  neck  measuring  13", 
measure  21/4",  etc.).  This  locates  point  M;  connect  points  L  and  M 
with  an  easy  inward  curve  as  in  the  illustration. 

To  Draft  the  Shoulder.  From  point  L,  measure  out  on  line  AC 
the  measurement  for  the  shoulder,  locating  point  N;  drop  a  perpen- 
dicular line  Ilk"  (if  the  shoulder  is  very  sloping  drop  this  line  2"). 
Draw  a  line  from  point  L  through  the  end  of  the  perpendicular  line. 
(This  is  shown  by  a  dotted  line  in  the  illustration.)  Lay  out  shoulder 
measure  on  this  line,  measuring  from  point  L,  thus  locating  point  O. 


379 

To  Draft  the  Armhole.  As  the  chest  measure  is  taken  2"  below 
the  base  of  the  neck,  locate  the  place  for  the  chest  line  on  the  pattern 
by  measuring  down  from  point  M  2"  on  line  AB;  call  this  point  P; 
from  point  P  drawT  a  line  parallel  to  the  line  AC.  Lay  out  one-halt 
the  chest  measure  on  this  line,  locating  point  Q.  To  locate  the  under- 
arm seam  and  base  of  armhole,  measure  down  the  depth  of  front 
armseye  from  point  M  on  line  AB  and  locate  point  R;  draw  the  line 
RS  parallel  with  line  AC  and  equal  to  one-half  of  front  bust  measure. 
Connect  points  OQ  and  S  with  a  curved  line,  allowing  it  to  drop  */£" 
below  the  line  RS,  as  in  illustration. 

To  Draft  Under-arm  Seam.  From  point  S  drop  a  line  parallel  to 
line  AB  the  length  of  the  under-arm  measure  and  locate  point  T; 
measure  \"  to  the  left,  locating  point  U,  and  draw  a  slanting  line  from 
point  S  through  this  point.  Line  US  should  equal  length  of  under- 
arm measure. 

The  pattern  should  be  made  to  extend  about  4"  below  the  waist 
line,  forming  a  tail,  or  skirt,  as  it  is  sometimes  called.  The  under-arm 
seam  must  slant  out  below  the  wraist  to  allow  for  extra  size  at  the  hips. 
To  obtain  the  slant  for  this  line,  lay  the  yard  stick  so  it  touches  the 
points  L  and  U  and  draw  the  line  UW  4"  long.  For  a  person  with 
extra  large  hips  place  yard  stick  on  points  M  and  U  to  draw  the  line 
UW.  From  point  M  measure  down  on  line  AB  the  measurement  for 
length  of  front;  locate  point  V.  Draw  line  UTV  (this  is  the  waist 
line),  extend  it  beyond  line  AB  to  the  edge  of  the  paper.  For  the 
bottom  of  the  skirt,  draw  the  line  WX  parallel  to  line  UV,  allowing 
it  to  extend  to  the  edge  of  the  paper. 

To  give  extra  fullness  to  the  bottom  of  the  waist,  draw  a  slanting 
line  from  point  M  to  point  X. 

To  Draft  the  Seams.  Draw  lines  parallel  with  and  Vz"  outside 
of  the  shoulder  and  under-arm  seam. 

THE  BACK. 

The  back  pattern  also  is  drafted  for  only  one-half  the  waist, 
therefore,  you  will  use  measurements  for  one-half  the  neck  and 
back  bust. 

Draw  a  construction  line  AB  parallel  with  the  left  edge  of  the 
paper;  draw  line  AC  perpendicular  to  it. 

To  Draft  the  Neck.  To  lay  out  the  center  back  of  the  neck, 
from  point  A  measure  down  on  line  AB  y2"  for  a  neck  measuring 
12"  to  14"  (measure  down  %"  for  neck  measuring  14"  or  over);  mark 
point  L.  To  lay  out  the  neck  at  the  shoulder  (the  size  of  the  neck  on 


380     • 


the  back  of  the  waist  should  be  y$ 
of  the  entire  neek)  measure  out 
from  point  A  on  line  AC  y$  of  l/z  the 
neck  measure.  Mark  this  point  M. 
Draw  a  curve  connecting  points  L 
and  M. 

To  Draft  Shoulder.  From  point 
M  on  line  AC,  lay  out  the  shoulder 
measure,  locating  point  N;  to  make 
the  slope  on  the  shoulder,  drop  a 
perpendicular  line  from  N  21/4"  for 
an  ordinary  shoulder  (for  a  very 
sloping  shoulder  make  this  line  2V2" 
long).  With  a  ruler  on  the  end  of 
this  line,  draw  the  slanting  line  MO, 
the  length  of  the  shoulder  measure. 
To  Draft  Armhole.  On  the  line 
AB  measure  down  one-half  the 
depth  of  armhole  measurement  and 

locate  point  P.  At  point  P  draw  a  line  parallel  with  line  AC.  From 
point  O,  drop  a  perpendicular  to  this  line.  As  the  armhole  curves 
in  slightly  from  the  shoulder,  measure  in  Vi"  locating  point  Q.  To 
locate  the  bottom  of  the  armhole  and  the  top  of  the  under-arm  seam, 
measure  down  from  point  A  on  line  AB  the  depth  of  armseye  meas- 
urement and  draw  the  line  RS  parallel  with  line  AC,  equal  to  one- 
half  the  back  bust  measurement.  Connect  points  OQ  and  S  with  a 
curved  line  as  in  the  illustration. 

To  Draft  Under-arm  Seam.  From  point  S  drop  an  indefinite 
perpendicular  line.  On  this  line  from  point  S  lay  out  the  under-arm 
measurement  and  mark  the  point  T.  As  the  under-arm  seam  should 
slant  in  toward  the  center  back  at  the  waist  line  to  remove  fullness 
under  the  arm,  measure  in  and  up  slightly  from  point  T  locating  point 
U;  draw  a  line  from  point  S  to  point  U.  This  will  be  the  under-arm 
seam  and  should  be  the  length  of  under-arm  measurement. 

To  form  the  line  for  the  center  back,  measure  down  from  point  A 
on  line  AB  the  length  of  back  measure.  One-half  inch  in  from  this 
point,  locate  point  V;  draw  the  line  AV,  allowing  it  to  extend  at 
least  4"  beyond  point  V.  Draw  the  line  VU  for  the  waist  line. 

To  Draft  Skirt  of  Waist.  To  allow  for  the  extra  size  over  the 
hip,  the  under-arm  seam  must  slant  out  below  the  waist  line  the  same 
as  for  the  front  pattern.  To  draw  this  line,  lay  the  yard  stick  on 


381 

points  M  and  U  and  draw  the  line  UW  4"  long.  For  an  extra  large 
hip  place  one  end  of  the  yard  stick  on  point  L  instead  of  point  M. 
Draw  the  line  XW  parallel  with  AC  for  the  bottom  of  the  waist. 

To  Draft  Seams.  Draw  lines  parallel  with  and  M/'  outside  of  the 
shoulder  and  under-arm  seams. 

DIRECTIONS  FOR  USING  SHIRT  WAIST  PATTERN. 

For  a  waist  which  is  to  be  opened  in  the  center  front,  lay  the 
center  back  represented  by  the  line  AX  on  a  lengthwise  fold  of  the 
material,  thus  cutting  the  back  in  one  piece.  For  a  waist  which  is 
to  be  opened  in  the  center  back,  lay  the  hems  the  width  desired  and 
place  the  center  back  of  the  pattern  on  the  center  of  the  hems. 

As  no  allowance  is  made  for  finishing  the  hems  on  the  center 
front  of  the  pattern,  the  center  opening  of  the  waist  may  be  finished 
as  desired  and  the  center  front  of  the  pattern  represented  by  line  MX 
may  be  placed  in  the  line  where  the  fastenings  are  to  be  sewed. 

If  a  tucked  waist  is  desired,  the  tucks  may  be  laid  in  the  material, 
the  pattern  placed  over  them  and  the  waist  line  cut  out  the  same  as 
for  a  plain  waist.  If  a  yoke  is  desired,  the  shape  may  be  marked  with 
a  pencil  on  the  upper  part  of  the  pattern.  Extra  allowance  should  be 
made  for  seams  along  this  edge  when  the  waist  is  cut  out.  If  fullness 
is  desired  in  the  waist  below  the  yoke,  lay  a  pleat  in  the  material 
lengthwise,  wide  enough  to  allow  for  the  fullness  desired. 

ONE-PIECE  FOUNDATION  SLEEVE. 

MEASUREMENTS. 

Length  of  Arm  from  Shoulder  to  Wrist.  Measure  from  end  of 
shoulder  to  the  wrist. 

Armhole.  Measurement  around  the  arm  where  it  joins  the 
shoulder  (an  easy  measure),  about  the  size  of  the  armhole  of  the 
waist. 

Shoulder  to  Elbow.  Measurement  from  the  end  of  the  shoulder 
to  the  bend  in  the  elbow. 

The  Hand.  With  the  thumb  closed  over  the  palm  of  the  hand, 
take  this  measurement  around  the  broadest  part  of  the  hand. 

DRAFTING  THE  SLEEVE  PATTERN. 

Study  carefully  the  accompanying  drawing.  This  pattern  is 
to  be  drafted  on  a  double  fold  of  the  paper;  use  the  folded  edge  of  the 


382 


paper  for  line  AB;  draw  line  AC  at  right 
angles  to  line  AB. 

To  Draft  the  Top  of  the  Sleeve.  For  a 
smooth  fitting  sleeve,  4"  is  allowed  for 
the  height  of  the  curve  for  the  upper 
part  of  the  sleeve;  this  measurement 
should  be  increased  if  the  sleeve  is  made 
wide  enough  at  the  top  to  be  gathered 
in  the  armhole  of  the  waist. 

Draw  the  line  LM  4"  below  and  par- 
allel with  the  line  AC,  making  it  equal 
to  one-half  the  armhole  measurement, 
plus  y2".  To  locate  the  point  where  the 
under-arm  curve  should  cross  this  line, 
measure  in  from  point  M  one-fifth  of 
the  armhole  measurement  and  locate 
point  N.  To  locate  the  point  where  the 
top  curve  of  the  sleeve  should  begin, 
measure  from  point  M  on  line  ML  two- 
fifths  the  length  of  the  armhole  measure- 
ment and  locate  point  O;  erect  a  per- 
pendicular line  to  line  AC;  measure 

down  on  this  line  3/4"  locating  point  P,  which  will  aid  in  drawing  the 
under-arm  curve  the  right  shape ;  draw  line  AM  for  the  top  curve  and 
line  APNM  for  the  under-arm  curve  of  the  sleeve. 

To  Draft  the  Remainder  of  the  Sleeve.  Locate  point  S  at  the 
bottom  of  the  sleeve  by  measuring  down  on  line  AB  the  length  of  the 
shoulder  to  W7rist  measurement.  At  point  S  draw  a  line  at  right 
angles  to  line  AB.  Draw  the  line  QR  parallel  with  and  equal  to  line 
AS.  To  lay  out  the  width  of  the  sleeve  at  the  bottom,  measure  in 
2V2"  to  3"  (depending  on  fullness  desired)  from  point  R  on  line  SR, 
locating  point  T.  Draw  the  line  MT.  To  allow  for  the  bending  of 
the  elbow,  the  bottom  of  the  sleeve  should  be  a  trifle  lower  on  line 
AB  than  at  point  T;  ^"  from  point  S  on  line  AB  locate  point  S2;  draw 
a  slanting  line  from  point  S2  to  point  T.  This  forms  the  bottom  of  the 
sleeve  which  may  be  gathered  into  a  narrow  band  to  fit  the  wrist. 
To  shape  the  sleeve  on  the  seam  where  the  elbow  bends  in, 
measure  down  from  point  A  on  line  AB  the  shoulder  to  elbow 
measurement;  locate  point  V;  from  point  V  draw  a  line  parallel  with 
line  AC,  locating  point  W  where  it  crosses  line  MT;  measure  in  from 
point  W  on  line  VW  l/2",  locating  point  X;  draw  lines  MX  and  XT. 
These  lines  form  the  under-arm  seam  on  the  sleeve. 


383 

If  the  cuff  is  to  be  used  on  the  bottom  of  the  sleeve,  measure  up 
from  point  S  the  width  desired  for  the  cuff  and  draw  line  YZ  parallel 
to  line  ST.  Measure  down  MJ"  from  point  Y  and  locate  point  Y2; 
draw  the  slanting  line  Y2Z  (a  tailored  cuff  is  made  2V2"  wide,  as  a 
rule).  The  placket  opening  for  tailored  cuff  may  be  cut  on  the  line  AB. 

If  this  sleeve  is  to  be  fitted  in  at  the  wrist  without  a  band,  or  cuff, 
line  ST  should  be  made  equal  to  one-half  the  hand  measurement. 

To  allow  for  a  seam  on  the  sleeve,  draw  lines  parallel  with,  and 
y?"  outside  of  lines  MX  and  TX.  With  the  paper  folded  cut  out  the 
pattern  on  the  heavy  lines  around  the  top  curve,  on  the  under-arm 
seam  and  the  bottom  of  the  sleeve.  Open  the  pattern  to  cut  out  the 
under-arm  curve. 

Laying  Pattern  on  the  Material.  Both  sleeves  may  be  cut  out  at 
one  time  by  laying  corresponding  sides  of  the  material  together  so 
you  will  have  a  sleeve  for  each  arm,  instead  of  two  for  one  arm. 
Open  the  pattern  and  place  line  AB  parallel  with  the  warp  thread  of 
the  material. 

Modification  of  the  Sleeve  Pattern.  The  sleeve  may  be  made  full 
at  the  top  by  increasing  the  length  of  lines  AL  and  LM.  It  may  be 
made  wider  at  the  bottom  by  increasing  the  length  of  line  SR.  It 
may  be  made  any  length  desired  by  drawing  a  line  parallel  with  S2T 
any  length  desired  on  the  sleeves.  If  tucks  are  desired,  either  cross- 
wise or  lengthwise  of  the  sleeve,  they  may  be  made  first,  after  which 
the  sleeves  may  be  cut  out  the  same  as  a  plain  sleeve. 

DEVELOPING  OTHER  PATTERNS  FROM  THE  SHIRT  WAIST 

PATTERN. 

CORSET   COVER. 

A  corset  cover  pattern  may  be  developed  from  the  shirt  waist 
pattern  in  the  following  manner :  For  the  front,  measure  up  from  the 
end  of  the  shoulder  line  of  the  waist  pattern  one-third  the  length  of 
the  shoulder.  Measure  down  from  the  base  of  the  neck  of  the  pat- 
tern 3"  or  4"  to  the  point  desired  for  the  top  of  the  corset  cover. 
Allow  2"  extra  on  front  of  pattern  for  fullness;  connect  top  of  front 
and  shoulder  with  an  inward  curved  line.  Cut  off  the  pattern  at 
the  wyaist  line. 

For  the  back  of  the  corset  cover  measure  up  from  the  end  ot 
the  shoulder  line  one-third  the  length  of  the  shoulder;  measure  down 
from  the  center  of  the  neck  to  the  point  desired  for  the  top  of  corset 
cover;  connect  this  point  and  shoulder  with  curved  line.  Cut  off  the 
pattern  at  the  waist  line. 


384 

CHEMISE. 

For  the  front  of  the  chemise,  measure  up  from  the  end  of  the 
shoulder  of  the  shirt  waist  pattern  one-third  the  length  of  the  shoul- 
der; measure  down  from  the  base  of  the  neck  of  the  waist  pattern  to 
the  point  desired  for  center  front  of  neck  of  chemise,  allowing  2" 
on  the  center  front  for  fullness;  draw  a  curved  line  and  connect  the 
point  marked  for  the  top  of  the  shoulder  with  the  center  front  of  the 
neck.  Measure  down  from  this  point  the  length  desired  for  the 
chemise.  Continue  the  under-arm  seam  of  the  waist  down  the  length 
desired  for  the  chemise.  Connect  the  center  front  of  the  bottom  with 
the  under-arm  seam,  allowing  the  line  to  curve  up  a  little  (about  IV?") 
for  the  bottom  of  the  chemise. 

For  the  back,  measure  down  from  the  center  back  of  the  neck  on 
the  pattern  to  the  point  desired  for  the  top  of  the  chemise,  allowing 
2"  on  the  center  back  for  fullness;  measure  up  from  the  end  of  the 
shoulder  seam  one-third  the  length  of  the  shoulder;  draw  the  curve 
for  the  neck,  connecting  the  shoulder  and  center  back.  Make  the 
chemise  the  same  length  in  the  back  as  the  front.  From  the  perpen- 
dicular line  at  the  under-arm  seam  in  the  shirt  waist  draft,  measure 
out  ll/2fr  at  the  waist  line  and  draw  the  line  for  the  side  seam  of  the 
chemise  through  this  point,  making  the  seam  as  long  as  the  seam  on 
the  front  of  the  chemise.  Lay  the  center  front  of  the  chemise  pattern 
on  a  fold  of  the  material  when  cutting  it  out.  Do  likewise  when  cut- 
ting out  the  back  of  the  chemise. 

NIGHTGOWN. 

A  nightgown  pattern  may  be  developed  from  the  shirt  waist 
pattern  in  the  same  manner  as  suggested  for  the  chemise,  except  that 
the  nightgown  is  made  long  enough  to  touch  the  floor.  When  the 
length  is  laid  out  on  the  center  front  a  line  is  drawn  perpendicular  to 
it  at  the  bottom  and  one-fourth  the  desired  width  of  the  nightgown 
is  measured  out  on  this  line.  This  point  is  connected  with  the  top 
of  the  under-arm  seam  of  the  waist.  The  back  of  the  nightgown  is 
laid  out  in  the  same  manner. 

SUGGESTIONS  FOR  FITTING  WAIST. 

Put  on  the  waist  right  side  out  and  pin  it  together.  Place  a  tape 
measure,  or  piece  of  cotton  tape  over  the  garment  at  the  waist  line 
and  adjust  the  fullness  at  the  bottom  of  the  waist.  If  the  shoulder 
seam  lies  straight  along  the  top  of  the  shoulder  from  the  base  of  the 
neck  to  the  end  of  the  shoulder,  if  the  under-arm  seam  runs  from  the 
center  of  the  under-arm  to  the  waist  line  slanting  a  trifle  toward  the 


385 

back  and  the  waist  is  free  from  wrinkles  of  any  kind  with  sufficient 
fullness  across  the  bust,  your  waist  will  need  no  alterations. 

If  the  waist  wrinkles  from  the  neck  to  the  bottom  of  the  arm- 
hole,  the  shoulder  seam  slopes  too  much.  Re-pin  it,  making  the  seam 
narrower  at  the  end  of  the  shoulder. 

If  the  waist  wrinkles  crosswise  at  the  top  of  the  back,  or  front, 
it  should  be  altered  at  the  neck  and  shoulder;  cut  out  the  neck  a  tritle 
(it  is  a  good  plan  to  make  short  crosswise  cuts  across  the  curve  of 
the  neck  before  cutting  out  the  material)  and  make  the  shoulder  seam 
narrower  at  the  end  of  the  shoulder. 

Where  the  waist  wrinkles  down  at  the  curve  of  the  armseye  it 
should  be  cut  around  this  curve.  It  is  advisable  to  make  crosswise 
cuts  in  the  edge,  as  suggested  for  the  neck,  before  cutting  out  the 
material.  If  the  waist  is  too  loose  at  under-arm  seam,  the  seam  should 
be  taken  up  until  the  waist  fits  smoothly.  (Be  very  careful  not  to  fit 
it  too  closely  at  this  point.)  If  the  waist  is  to  be  finished  with  a 
peplum  or  band,  trim  it  off  the  width  of  a  seam  below  the  waist  line 
(be  very  careful  to  leave  the  waist  long  enough  so  it  will  not  pull  up 
above  the  belt  of  the  skirt  when  the  arm  is  raised). 

SLEEVE. 

Place  the  sleeve  in  the  armhole  of  the  waist  with  the  under-arm 
seam  about  21/4"  to  2y2"  from  the  under-arm  seam  of  the  waist.  See 
that  the  seam  of  the  sleeve  hangs  straight  to  the  front  of  the  wrist  and 
that  the  top  of  the  sleeve  hangs  straight  to  the  back  of  the  hand  when 
the  arm  is  dropped  straight  down  at  the  side.  Pin  the  sleeve  in  the 
armhole,  being  careful  that  neither  the  waist  nor  the  sleeve  draws  in 
any  place  when  the  arm  is  raised  or  lowered.  Bend  the  elbow  and 
see  that  there  is  sufficient  room  to  do  this  without  straining  the  seam 
of  the  sleeve  at  that  point.  Pin  the  sleeve  up  at  the  bottom  to  make  it 
the  desired  length.  A  sleeve  should  fit  easy  on  the  arm,  otherwise  it 
will  be  uncomfortable  and  will  be  likely  to  pull  out  at  the  seams. 

FOUNDATION  SKIRT. 

MEASUREMENTS. 

Waist  Measure.  A  close  measurement  around  the  smallest  part 
of  the  waist.  Before  taking  the  other  measurements,  pin  a  tape 
measure  or  narrow  strip  of  muslin  around  the  waist;  let  the  bottom 
edge  indicate  the  waist  line. 

Hip  Measure.  A  loose  measure  taken  over  the  fullest  part  of  the 
hip  about  6"  below  the  waist  line  at  the  hip.  If  the  skirt  is  to  be 
narrow  at  the  bottom  add  2"  to  the  hip  measure. 


386 

Length  of  Front.  Measurement  from  the  waist  line  at  the  center 
front  to  the  floor. 

Length  of  Side.  Measurement  from  the  waist  line  over  the  hip 
to  the  floor.  Take  the  measurement  of  both  hips;  if  one  hip  is  larger 
than  the  other,  use  the  longer  measure. 

Length  of  Back.  Measurement  from  wraist  line  at  the  center 
back  to  floor. 

Construction  of  Skirt.  A  gathered,  or  pleated  skirt  made  as  wide 
at  the  top  as  it  is  at  the  bottom  should  not  be  curved  out  at  the  waist 
line  in  front,  as  the  gathers  wall  take  up  the  extra  size  at  the  hips.  In 
making  such  a  skirt,  straight  strips  of  cloth  may  be  sewed  together. 
When  a  skirt  fits  smoothly  around  the  hips,  it  must  be  wider  at  the 
bottom  and  narrower  at  the  waist  than  at  the  hip  line.  This  is  done 
by  slanting  the  strips  of  material  frpm  the  bottom  to  the  top  sufficient- 
ly to  make  it  fit  the  figure.  When  a  skirt  is  made  to  fit  the  figure,  it 
is  always  necessary  to  raise  the  wraist  line  at  the  back  to  make  the 
top  of  the  skirt  fit  smoothly  around  the  waist  line. 

Two  pieces  of  material  may  be  slanted  off  on  one  edge,  raised  at 
the  waist  line  and  fitted  in  with  darts.  As  a  rule  the  skirt  is  divided 
into  several  sections,  or  gores;  the  number  and  size,  however,  is  dic- 
tated entirely  by  the  prevailing  fashion.  A  skirt  pattern  made  of  two 
pieces,  like  the  one  shown  in  the  illustration,  may  be  divided  into 
any  number  of  gores  desired;  the  width  at  the  bottom  may  be  varied 
to  meet  the  requirements  of  changing  styles. 

DRAFTING  THE  FOUNDATION  SKIRT  PATTERN. 

Study  carefully  accompanying  drawing.  Use  a  piece  of  drafting 
paper  several  inches  longer  than  the  back  measurement  and  a  trifle 
wider  than  one-half  the  skirt  measure;  if  the  paper  is  not  wide 
enough,  an  extra  strip  may  be  pasted,  or  pinned,  on  one  edge.  Let 
the  long  edge  of  the  paper  represent  line  AB;  draw  line  AC  at  right 
angles  to  it  7"  or  8"  from  the  end  of  the  paper;  let  point  A  represent 
the  center  front  of  the  waist  line.  As  you  are  drafting  one-half  of 
the  pattern,  you  wTill  use  one-half  the  waist  measure  and  one-half  the 
hip  measure. 

To  Locate  Points  with  Which  to  Draft  Back  of  Skirt.  Measure  out 
from  point  A  on  line  AC  one-half  the  hip  measurement,  locating  point 
L.  Measure  down  from  point  A  on  line  AB  the  length  of  front  measure- 
ment; locate  point  M.  To  locate  point  at  bottom  of  skirt  through 
which  the  center  back  line  must  pass,  put  a  pin  or  thumb  tack  through 
the  1"  mark  on  a  tape  measure  and  place  it  on  point  M;  with  a 


387 


pencil  on  the  edge  of  the 
tape  opposite  the  figure 
which  indicates  one-half 
the  width  of  the  skirt  de- 
sired, describe  an  arc  of  a 
circle  (a  small  part  of  a 
circle),  slightly  above  point 
M;  in  the  same  manner, 
with  point  L  as  a  center, 
describe  another  arc  with  a 
radius  (measurement  from 
center  to  outside  of  circle) 
the  same  length  as  line  AM 
letting  it  cross  the  first  arc 
at  point  W;  draw  a  line 
through  points  L  and  W 
(this  makes  a  temporary 
back  line). 

To  Draft  Top  of  Skirt. 
The  waist  line  of  a  gored 
skirt  always  curves  up 
from  the  center  front  to-V 

ward  the  center  back.  The  slant  varies  with  the  width  of  the  skirt 
at  the  bottom;  the  wider  the  skirt  is,  the  higher  the  waist  line  will 
be  raised  at  the  back.  By  experimenting  with  many  different  skirt 
measurements  it  has  been  found  that  the  height  of  the  curve  in  the 
center  back  above  the  center  front  is  about  1/10  the  width  of  the 
bottom  of  the  skirt. 

At  right  angles  with  line  AC  draw  line  ON  which  represents  1/10 
the  bottom  of  the  skirt  measure  so  it  will  intersect  the  indefinite  line 
LW  at  point  N.  Draw  a  slanting  line  AN  (the  curve  for  the  waist  line 
will  be  drawn  under  this  line  after  the  point  for  the  hip  dart  is 
located.) 

To  Locate  Hip  Line.  The  hip  line  at  hip  is  about  6"  from  waist 
line.  The  hip  line  at  center  front  will  be  shorter  than  at  the  side 
because  the  waist  line  curves  down  in  front.  The  hip  line  at  center 
front  equals  6"  minus  the  difference  between  the  length  of  front  and 
side  length.  The  hip  line  at  the  back  equals  6"  plus  the  difference 
between  the  side  length  and  back  length  (if  the  back  length  is  shorter 
than  the  side  length,  the  hip  line  will  equal  6"  minus  the  difference 
between  the  side  length  and  back  length.) 

To  locate  the  position  of  the  hip  line,  divide  line  AN  in  the  center, 
locating  point  P;  with  the  end  of  ruler  on  line  AN  draw  line  PR  6" 


388 

long  and  place  point  U  for  side  length  of  skirt.  To  locate  the  hip 
line  at  center  front,  measure  down  length  of  center  front  hip  line  and 
locate  point  Q.  From  point  N  measure  down  on  line  NW  the  length 
of  back  hip  line  and  locate  point  S;  with  the  tape  measure,  measure 
the  length  of  the  hip  line  QRS.  If  this  is  longer  than  half  the  hip 
measure,  locate  the  point  on  line  QRS  and  draw  a  new  line  VW 
through  this  point  without  changing  the  width  of  the  skirt  at  the 
bottom;  from  point  V  measure  down  on  line  VW  the  length  of  the 
back,  locating  point  T.  Curve  the  waist  line,  as  shown  in  the  illustra- 
tion. (It  is  curved  up  at  point  P  to  shape  the  top  of  dart  prop- 
erly.) 

To  Draft  Dart  at  Point  P.  Subtract  one-half  the  waist  measure 
from  the  length  of  line  AV.  Measure  out  on  line  AV  each  side  of 
point  P  one-half  the  difference  and  draw  the  slanting  lines  to  R  shown 
in  illustration  for  the  hip  dart. 

If  a  skirt  is  very  narrow  at  the  bottom  it  may  be  necessary  to 
take  up  some  of  the  waist  line  at  the  back  with  gathers,  or  by  slant- 
ing in  the  back  line  from  the  hip  to  the  waist  line. 

LAYING  THE  PATTERN  ON  THE  MATERIAL. 

This  skirt  pattern  may  be  used  for  a  two-piece  skirt.  Place 
the  center  front  of  the  pattern  far  enough  from  the  edge  of  the  ma- 
terial to  allow  for  a  pleat  or  seam  in  front  if  you  desire  the  skirt  to 
open  in  front.  Cut  1"  outside  of  line  VT  for  the  center  back  of  the 
skirt;  or,  place  line  AM  on  the  center  fold  of  the  material  and  line 
VT  on  a  fold  of  the  material  and  join  the  skirt  at  the  hips  instead  of 
the  center  front  and  back.  (Have  the  placket  opening  at  the  top  of 
the  left  hip  seam.) 

This  pattern  may  be  used  for  a  three-piece  skirt  by  placing  line 
AM  on  fold  of  goods  and  having  seams  on  the  hips  and  center  back. 

One  style  of  four-gored  skirt  may  be  made  in  the  same  manner 
as  suggested  for  the  three-piece  skirt,  except  that  the  skirt  opens 
under  a  pleat  in  the  center  front.  If  you  desire  to  open  the  skirt  on 
the  side  of  center  front,  cut  a  new  pattern  of  the  front  gore  on  doubled 
paper,  calling  the  folded  edge  line  AM.  Measure  the  distance  to  the 
right  or  left  of  this  line  that  you  desire  to  have  your  opening.  Cut 
the  paper  open  at  this  point  parallel  with  the  folded  edge. 
REMEMBER  seams  must  be  allowed  in  cutting  out  the  material. 

DIVIDING  THE  FOUNDATION   SKIRT   IN   GORES. 

The  number  and  size  of  gores  in  a  skirt  change  so  often  writh  the 
prevailing  styles  that  it  is  not  deemed  advisable  to  give  in  this  text 


389 


L     C 


a  detailed  discussion  for 
dividing  the  foundation 
skirt  into  its  many  possi- 
ble divisions  or  gores. 
However,  in  order  to  give 
a  general  idea  of  the  man- 
ner of  dividing  a  founda- 
tion skirt,  the  accompany- 
ing drawing  shows  the 
skirt  divided  into  five 
gores.  This  drawing  will 
be  suggestive  of  the  prin- 
ciples which  may  be  em- 
ployed in  making  any  de- 
sired number  or  style  of 
gores.  Before  dividing  the 
skirt  into  gores,  study  a 
commercial  pattern  and 
notice  the  relative  width 
of  the  gores  at  the  hips 
and  bottom  and  divide 
your  skirt  accordingly. 

The  following  figures  were  used  in  dividing  this  skirt: 

Front  gore  at  waist  equals  1/6  waist  measure. 

Front  gore  at  hip  equals  1/6  waist  measure  plus  \" . 

Front  gore  at  bottom  equals  1%  times  size  of  hips. 

Side  gore  at  waist  equals  1A  waist  measure. 

Side  gore  at  hip  equals  V±  waist  measure  plus  2^/2". 

Side  gore  at  bottom  equals  twice  the  size  at  hips. 

Slant  the  side  gore  in  from  each  side  of  the  hip  line  1^4"  to  the 
waist  line. 

Back  gore  at  waist  line  equals  1/12  waist  measure. 

Back  gore  at  hip  equals  remaining  half  hip  measure. 

Back  gore  at  bottom  equals  remaining  half  skirt  measure. 

Take  up  remaining  top  of  pattern  in  a  dart  in  the  center  of  the 
side  gore. 

SUGGESTIONS  FOR  FITTING  SKIRT. 

Put  on  the  skirt  right  side  out  and  pin  it  together.  If  the  seams 
over  the  hips  do  not  slant  forward  or  backward  at  the  waist  line,  if 
it  fits  smoothly  around  the  waist  and  hips,  if  you  can  sit  down  in  it 
comfortably  and  the  lines  of  the  seams  are  good,  your  skirt  will 
need  no  alterations.  If  the  skirt  is  pleated,  the  pleats  should  hang  as 


390 

indicated  in  the  pattern.  The  skirt  should  be  evened  around  the 
bottom  after  the  band  is  put  on.  It  is  an  excellent  plan  to  put  on  the 
skirt  (after  the  seams  have  been  stitched  and  the  placket  opening 
finished),  pin  the  band  in  place  and  make  it  even  around  the  bottom. 
A  good  way  to  even  the  skirt  around  the  bottom  is  to  have  the  person 
whose  skirt  is  to  be  hung  stand  on  a  table,  holding  a  yard  stick 
straight  beside  her,  with  one  end  resting  on  the  table;  the  hem  of  the 
skirt  may  be  turned  up  evenly  at  any  length  desired,  moving  the  yard 
stick  as  you  turn  the  hem. 

If  the  skirt  hangs  forward  at  the  bottom  front,  raise  it  at  the  back 
waist  line.  If  it  draws  across  the  hips,  let  out  the  seams  at  the  hips, 
and  if  necessary,  at  the  center  back.  If  the  seam  at  the  hip  slopes  for- 
ward, or  backward,  near  the  waist  line,  pin  it  straight.  Be  careful 
that  the  seams  all  have  a  general  direction  straight  toward  the  floor. 

KIMONO  NIGHTGOWN. 

MEASUREMENTS. 

Neck  Measure  at  Shoulder.  Measurement  from  bone  in  center 
back  of  neck  out  on  the  shoulder  far  enough  to  make  the  neck  of 
the  gown  as  low  as  desired  at  this  point. 

Neck  Measure  at  Center  Front.  Measurement  from  base  of  neck 
down  the  center  front  the  depth  desired  for  neck  of  gown  in  front. 

Bust.  A  loose  measurement  around  the  body  over  the  fullest 
part  of  the  bust  close  under  the  arms. 

Shoulder  and  Sleeve  Measure.  Measurement  from  base  of 
neck  along  shoulder  to  bend  in  elbow,  or  length  desired  for 
sleeve. 

Width  of  Sleeve.  Measurement  around  the  arm  above  the  elbow 
plus  6"  or  8"  (this  depends  on  the  size  of  sleeve  desired). 

Length  of  Nightgown.  Measurement  from  highest  point  of 
shoulder  to  the  floor. 

Width  at  the  Bottom.  Measurement  desired  (from  2  to  2l/2  yards.) 

DRAFTING  THE  PATTERN. 

Study  carefully  accompanying  drawing.  You  are  to  draft  one- 
half  of  the  front  pattern,  which  will  also  be  used  to  cut  out  the 
back  of  the  nightgown,  thus  making  this  pattern  one-fourth  of 
the  entire  gown.  For  this  reason  you  will  use  one-fourth  of  the  bust 
measure  and  one-fourth  of  the  skirt  measure  in  drafting  your  pattern. 

Draw  line  AB  parallel  with  the  edge  of  the  paper;  draw  the  line 
AC  at  right  angles  to  line  AB. 


391 


/Y      C 


To  Draft  the  Neck.  Meas- 
ure out  from  point  A  on 
line  AC  the  neck  measure 
at  the  shoulder;  locate 
point  L;  measure  down  on 
line  AB  from  point  A  the 
neck  measure  at  center 
front;  locate  point  M;  draw 
an  easy  curve,  as  in  illus- 
tration, connecting  points  L 
and  M.  This  neck  may  be 
made  square  by  drawing  a 
line  from  point  L  parallel 
with  line  AB  to  form  a  right 
angle  with  the  line  drawn 
from  point  M  parallel  with 
line  AC.  A  straight  slant- 
ing line  drawn  from  point 
L  to  point  M  will  make  a 
V-shaped  neck. 

To  Draft  the  Sleeve.  On 
line  AC  measure  out  from 
point  L  the  length  of  the 
shoulder  and  sleeve  meas- 
ure, locating  point  N;  meas- 
ure down  on  line  AB  one- 
half  the  width  of  sleeve  measure  and  draw  line  OP  parallel  with  and 
1"  shorter  than  line  AC;  connect  points  P  and  N  with  a  slanting  line. 
To  Draft  the  Body  of  the  Nightgown.  From  point  A  measure 
down  on  line  AB  the  length  of  nightgown  and  locate  point  R.  From 
point  R  draw  line  RS  at  right  angles  to  line  AB,  making  it  equal  one- 
fourth  the  width  of  the  bottom  measure.  On  line  OP  measure  out 
from  point  O  one-fourth  the  bust  measure  plus  2"  for  fullness  and  locate 
point  Q;  draw  a  slanting  line  from  point  Q  to  point  S;  from  point  Q 
measure  down  the  length  of  line  OR  on  line  OS;  locate  point  T;  half 
way  between  the  points  R  and  S  begin  to  draw  the  curved  line  RT 
for  the  bottom  of  the  nightgown.  Make  a  curved  line  at  point  Q,  as 
shown  in  the  illustration. 

LAYING  THE  PATTERN  ON  THE  MATERIAL. 
Fold  the  material  lengthwise  in  the  center,  then  fold  it  crosswise 
in  the  center;   pin  the  center  front  of  the  pattern   (represented  by 


392 


the  line  MR)  even  with  the  lengthwise  fold  and  the  line  LN  even  with 
the  crosswise  fold  of  the  material;  cut  out  the  back  and  front  of  the 
nightgown  at  the  same  time. 

ADAPTING    THE    KIMONO    NIGHTGOWN    PATTERN    TO    THE 
MAKING  OF  OTHER  GARMENTS. 

By  cutting  the  kimono  nightgown  pattern  the  desired  shape  at 
the  neck,  opening  it  down  the  center  front  and  cutting  it  off  the  shape 
desired  below  the  waist  line,  it  may  be  used  as  a  pattern  for  a  comb- 
ing jacket. 

By  opening  the  kimono  nightgown  pattern  in  the  front  it  may  be 
used  as  a  pattern  for  a  kimono.  If  a  yoke  is  desired  in  the  kimono, 
cut  off  the  upper  part  of  the  pattern  the  shape  desired  for  the  yoke  and 
allow  for  seams  at  the  bottom  edges  when  cutting  out  the  material. 
If  fullness  is  desired  in  the  body  of  the  kimono,  set  the  center  front 
of  the  pattern  over  from  the  edge  of  the  material  far  enough  to  allow 
for  the  fullness.  In  the  center  back,  do  the  same,  setting  the 
pattern  over  from  the  folded  edge  of  the  goods  the  width  of  a  seam 
if  two  widths  are  used  to  make  the  back. 

DRAWERS. 
MEASUREMENTS. 

Waist  Measure.  Measurement  around  the  smallest  part  of  the 
waist. 

Hip  Measure.  Loose  measurement  around  the  fullest  part  of  the 
hips  about  6"  from  the  waist  line. 

Length  of  Side.  Measurement 
from  waist  line  over  hip  to  the 
bend  in  the  knee  (take  rather 
a  short  measurement). 

DRAFTING  THE  PATTERN. 

Study  carefully  the  accom- 
panying drawing.  The  pattern 
for  these  drawers  is  drafted  on 
double  paper  which  is  folded 
along  the  side  of  the  drawers. 
When  the  drawers  are  cut  out, 
the  pattern  should  be  opened  and 
the  crease  laid  parallel  with  the 
warp  threads  of  the  material. 
Consider  the  fold  of  the  paper 
line  AB  and  draw  a  line  AC  at 
right  angles  to  it. 

To  locate  the  top  of  the  side 
of  the  drawers,  measure  down 


393 

from  point  A  3"  on  line  AB  and  locate  point  L;  to  locate  the  top 
of  the  front  of  the  drawer  leg,  measure  down  4"  from  point  A 
on  line  AB  and  locate  point  M;  draw  a  line  MN  one-fourth  of  the 
hip  measure;  to  locate  the  crotch  of  the  drawer  leg,  measure  down 
from  L  two-thirds  of  the  side  length  and  locate  point  O  and  draw  a 
line  OP  parallel  with  AC,  making  it  equal  one-half  the  hip  measure, 
minus  2". 

To  lay  out  the  length  of  the  drawer  leg,  measure  down  on  line 
AB  from  point  L  the  side  length  and  draw  a  line  QR  the  same  length 
as  OP  and  parallel  to  it. 

To  shape  the  front  of  the  drawer  leg,  measure  in  2"  from  point 
P  on  line  OP  and  locate  point  S.  One  inch  in  from  point  S  on  line  OP 
locate  point  T;  draw  a  line  from  point  N  with  the  yard  stick  on 
points  N  and  P  within  about  2"  of  point  P;  curve  the  line  to  point  P; 
draw  a  line  from  point  L  to  .point  N. 

TO   SHAPE  THE  BACK. 

Measure  in  1"  on  line  MN  and  locate  point  U;  with  the  yard  stick 
on  points  S  and  U  draw  a  line  from  point  S  up  to  line  AC,  locating 
point  V;  leave  the  line  dotted  where  it  falls  under  the  front  of  the 
leg;  curve  the  lower  end  of  the  line  off  to  point  P.  With  the  paper 
folded,  cut  out  the  pattern  on  the  heavy  outline  around  points  LVNPK 
and  Q;  fold  back  the  upper  part  of  the  paper  on  the  dotted  line  be- 
tween points  U  and  P  and  cut  the  back  of  the  drawer  leg  even  with 
the  crease;  open  the  paper  and  cut  out  top  of  front  leg  on  line  LN, 
also  the  part  left  uncut  between  points  P  and  N. 


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LIBRARY  US 

JOL13 


LD  21-50m-l,'3J 


U.C.  BERKELEY  L 


0006701366 


^ 

478143 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


